1 9 5 S I M P LY A B U DH A B I School with the Wiener Werkstätte, that same city's decorative arts modernist precursor. Hence his models fairly cantered around their carpeted arena with choreography that was as disciplined as Mullane's gently equestrian-touched and Werstätte-patterned tailoring, accessories, and outerwear. Knitwear sported quietly integrated Vorticist-inspired grids and the odd buckle (under the shawled collar of a cardigan), bridle-strap key chain, or double-pleated and tapering jodhpur were confidently subtle hints at horsey-ness. Duffel coats, blousons and jackets came in faded checks, whichMullane said were both horse-blanket inspired and reminiscent of Brioni pieces that were featured on a 1970s cover of L'Uomo Vogue. So while the designer played with his idea, he reined in any hint of excess in its expression to leave the audience a clear view of Brioni's core proposition – handmade ready-to-wear tailoring that is as seductive now as it was in 1952. The Luxury Institute of New York named Brioni as the most prestigious men’s fashion luxury brand in America in 2011. Mullane’s preppy collection with its Glee style blazers was aimed right at the suave American golden boy who is fashion- savvy enough to invest in Italian threads. Many of the looks featured layered garments: collared shirts, with a tie, topped off with a pullover and a blazer. Cashmere sweaters were neatly tucked into the belted, pleated pants in strict boarding school fashion. Mink and silk scarves, tartan blankets and a crocodile belted trench coat provided an unexpected flair for this privileged Ivy League prince. Wingtips and pony leather saddle-like bags brought the ensembles full circle.