Held in the beautiful Palais de la Femme, a 1910 vintage charitable refuge for distressed women, this show had the added virtue that its location fee went to an excellent cause. Lemaire’s precision-tooled aesthetic took in some new territories this season; the djellaba was pared back via insertion of a V-neck and the use of denim, while the kurta came in soft, light striped cotton poplin. Without laying on any “for this collection I went on a voyage” shtick—Christophe Lemaire and Sarah-Linh Tran are far too pure to be so banal—there was a powerful overtone of travel-friendly functionality deployed with their customary aesthetic firmness and their favored, gently oversize silhouette.

Track pants, elasticated and belted at the waist and ankle, came in wools and light cottons. Carabiner key holders were looped by cord around the waist or off the hem. There were crisply coated cotton parkas cut to mid-thigh; elsewhere, Lemaire made liberal use of pocket-peppered gilets—sometimes convertible to jackets by the addition of zippered sleeves—either as layering pieces or as stand-alone outerwear. The models glanced around semi-quizzically as they walked in what was an odd and unexplained art direction. But this was the single slight misstep.