australia karen millen The collection’s focus is what Gabier dubbed “riding the line between really ladylike elements and some borderline hippie tendencies,” and both were evident in distinctly 1950s-inspired outerwear shapes and textiles that dipped invitingly into the psychedelic leanings of the subsequent decades. And ensconcing oneself in any of the duo’s series of beachy, slouchy, nubby cotton fleece jackets and pullovers would be an ideal situation if you are inclined toward the long, strange (and typically chemically induced) trips: one charming, bright blue plastic-coated fuzzy wool bouclé hoodie reminded Peters of a “modernist sofa” and this reviewer of the exaggerated dimensions of Erwin Wurm’s “fat” sculptures. It felt snagged straight from the playpen, with an adult’s comfort in mind, in the best possible way; comfort being the key to the easy, breezy, understatedly luxurious manner of Creatures of the Wind’s alt-bohemianism.