Maiyet Ready To Wear Fall Winter 2015 Paris

Ten thousand meters of wine-hued ribbons hung up on the rafters at the Hotel Salomon de Rothschild, forming regular arcs that echoed the circular islands around which the guests of Maiyet's Fall show were seated. These were a graphic interpretation of the rolling hills of Scotland as Charles Rennie Mackintosh could have drawn them, reinterpreted by noted architect David Adjaye.

The collaborative spirit that moves Maiyet's Kristy Caylor goes beyond the anecdotal. Batik sourced in Indonesia, hand-loomed knitwear, the founder's idea of turning the sourcing game on its head ― picking suppliers for what they do, rather than how cheaply they do it ― has firmly taken root all around the industry. Maiyet preceded the desire of her customer, who now reaches for luxury while keeping an eye on sustainability and ethical consumption; others have picked up on this.  Mission accomplished, as far as Caylor sees it.  "Our goal has always been to change the conversation and show that you need not compromise, or cheapen."

However, this can only work if the wares are worthy. Today they most definitely were. Fluid tailoring was another major story. Long, lean but not tight silhouettes brought a sense of sophistication to daywear. Raw edges were discreetly stopped, making this languid. Mackintosh's roses were beautifully graphic, embroidered by the talented hands of Indian artisans. Volumes espoused a desire for sophistication, flaring a skirt or freeing an ankle. Indonesian batiks were harnessed to express the languid lengths of his designs, as did disjointed leather patch-working done black-on-black. The real lookers today were undoubtedly the thick knits. Black and white wraps were pieced together, desirable for their design and the more prosaic warmth.

Women looking for refined fare that fits ethical business values will no doubt pay renewed attention to Maiyet. The craftsy spirit is a hurdle finally overcome for the brand, and touches like the tusk closure spotted on a backpack felt urban and polished rather than roots. What made this collection shine was not any particular item, but rather the commonality between Caylor's work and Mackintosh's: this ability to harness the hallowed old into a modernist, pared-back incarnation.