NewYork fashion weekDoes a Margot Tenenbaum reference induce a collective sigh at this point? Has Wes Anderson's most regularly name-checked, oft-imitated heroine jumped the shark? It's up for debate, but Clare Waight Keller's interpretation of Margot and of the Anderson universe for See by Chloé's Fall outing didn't suffer for it.

It was a loose homage, traceable mostly in a kind of well-to-do eclecticism. (One print of vines and lounging leopards might have been straight off a wall at the Tenenbaum manse.) More palpable was the Chloé Parisian, summoned up here as a Sorbonne student, hunkered down in the library and bundling herself against the chill coming in off the Seine. Those artfully artless layers were central to these looks. Waight Keller got matchy-matchy with big scarves and nubby sweaters, topped a kilt-turtleneck combo with a big poncho, and whipped up shaggy peacoats to throw on over it all. That spirit of coziness carried through with the '70s-inflected, jolie laide palette of mustard, peach, navy, camel, and pops of tangerine, but the Chloé girl knows how to turn up the sex appeal, too. (Has anyone yet forgotten the exquisite, barely-there boho frocks from the main line back in Spring?) She'll team her thigh-grazing, flounced skirts with woolen knee-highs, a big coat, and a bag slung to the hip and call it a day. On the blustery February morning when See's Fall previews were held, the Chloé ethos rang particularly true: Sometimes comfort is the greatest luxury of all.

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