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To understand the luxe basics trend going on in fashion right now, it may be useful to think of food, as in lobster mac and cheese or truffle oil French fries. In other words, take something that represents comfort, dress it up and, voila, behold a stylish twist on the tried and true.

From sweatshirts covered in sequins to avant-garde sweatpants to metallic leather leggings, the high/low mix and attention to surface detail suggest a more sophisticated approach to casual clothing than we've seen in a while. Among the must-have designer pieces this fall: a big-shouldered, heather-grey Marc Jacobs mini-dress made from, what else, cotton sweatshirt fabric.

The look is emerging mainly in the contemporary category, which not too long ago was dominated by velour tracksuits and denim. Whippersnapper designers like Alexander Wang and Erin Kleinberg and labels such as Oak NYC and LINE have responded to the recession by dialling back the formality and producing pieces that work just as well for nesting in the heavily mortgaged condo as hitting the local gastropub for a plate of charcuterie.

“People are happy to spend less and look good,” says Kleinberg, a 23-year-old Toronto native whose embellished tops have become widely popular (not to mention copied) since Barney's started carrying them last year. (They are now available at Holt Renfrew.) “For me, it's all about comfort; the fact that they look good [enough] to go out in is great.”

Sharon Graubard, senior vice president of trend analysis at Stylesight, a New York-based forecasting agency, says people are looking for longevity from their clothes and this niche delivers. “There's a new ethics about it; cheap fast fashion ends up in landfills,” she says by phone, giving a nod to Norma Kamali, Jacobs and Rick Owens as antecedents.

But how to discern between a basic basic and a luxe basic? “It requires a sophisticated eye,” Graubard admits. “I think some of it is purely visceral; it's the silhouette, the neckline, the fit, the drape, the workmanship. [But] you don't want anything to feel too new.”

Price points are across the board, from wallet-busting cashmeres by Brunello Cuccinelli and Loro Piana to Kleinberg's sequin shorts for $198. All segments of the market are getting into the game.

This season, Aritzia launched Wilfred Free, which goes in a more understated direction than the Canadian retailer's typical trend-du-jour fashions. Super-sheer rib tops and micro modal jerseys knitted in Japan and Italy will appeal less to teens than young professionals looking for updated separates to pair with their suits.

Club Monaco, meanwhile, recently introduced a new Italian cashmere line in non-colours such as antique white and three shades of grey. While cardigans are in the $249 range, they feel more sumptuous than the cashmere offerings from other mass-market retailers.

At the Holt Renfrew Spring 2010 media preview this week, all signs pointed to elevated basics maintaining momentum. From Rag & Bone, there was a pair of waffle-knit jodhpurs with linen knee patches, “jeggings” (jean leggings) from Joe's Jeans, loose harem pants and jersey mini-dresses galore. Barb Atkin, vice-president of fashion direction, repeatedly referred to these pieces as “relevant,” which may be another way of saying lifestyle-friendly.

Graubard notes that the looser shapes and unstructured silhouettes afford an added bonus: “You can eat a meal,” she says. “You don't have to hold your stomach in.”

Now that is luxury.

Florence on fashion

Florence on fashion

Florence Welch has a face from British period drama, hair the colour of Raggedy Ann and a voice that can penetrate the hardest of hearts. As the lead singer of Florence + the Machine, one of the freshest pop bands coming out of Britain today, the 23-year-old is growing into a style – musically and fashion-wise – that’s entirely her own. Just days after performing on the Late Show With David Letterman, Welch slipped into some luxe basics in Toronto and proved to be quite the modelling machine.

You’ve been described by British media as achingly fashionable. Thoughts?

I just think that’s ridiculous. Well, it’s very flattering. But I just see myself as incredibly goofy most of the time.

You seem to gravitate toward British labels.

Hannah Marshall is a friend so it’s nice to collaborate with her on my videos. She’s got wonderful use of shoulder pads and leather and chiffon. Living in London you’re surrounded by young designers so it’s exciting to work with them.

How has your style evolved since you started performing?

I’m used to finding things under my bed, at the back of my cupboard, borrowing from friends, going to charity shops … and that's really fun. But when you’re working on bigger performances, it helps to talk to a stylist and get some extravagant pieces.

So have you been working with a stylist?

I have. Aldene Johnson. She’s the fashion editor of Vice magazine.

What is one of the most important things she’s taught you?

Probably that what looks good in person can photograph completely differently. Having her around is like having armour because it’s terrifying, all that red-carpet stuff.

What is your tour wardrobe like?

We kind of go with a colour scheme – mostly black and gold – because that makes it easier. But we’re moving into a peach phase. We get like loaned designer dresses from Hannah Marshall or Willow. I have an Antonio Berardi dress for Toronto. It has these weird pointy things all over it, like a sea urchin.

Do you like that avant-garde direction?

I think it works on stage because you can make shapes with [the dresses].

What do you like to wear when you’re not on stage?

A mish mash of things. I always look like My So-Called Life or Blossom.

I guess that works when you approach it irreverently.

I’d say my style off stage is pretty irreverent.

Do you have time to go shopping?

We organize shopping time, especially when we’re in L.A. and New York. I bought some really beautiful, long satin dresses on Melrose. My stylist was with us and she had to stop me from buying things that made me look, as she called it, too period, too Jane Austen.

What do you think about the whole no pants movement?

I think no trousers is a more subtle way of being sexy than cleavage. I’ve had two female [video] directors and both told me, “Get your legs out!” I don’t have the cleavage, so it’s not an asset [for me].

What trend are you not a fan of?

Anything neon.

What would be something worth splurging on?

I think a really special vintage piece, a one-of-a-kind dress. I’ve never bought anything designer in my life. I’m trying to. I’ve been trying to buy this YSL T-shirt, the one with the logo on the pocket.

Are you a girly girl when it comes to makeup?

I’m pretty low maintenance. I don’t really have a regime but I enjoy products. I’m addicted to lipsticks. If I’m wearing black, I always go for a dark red; but it I’m wearing a pink colour, I’ll go for Total Wow from M.A.C., which is more sheer.

How long has your hair been red?

Maybe about two years. I dyed it for the first time when I was 11. And then I did every colour under the sun – blond, blue, green, black – when I went through my punk phase. Women with red hair have always been thought of as witches or crazy – or untrustworthy.

Do you like being associated with that?

Yes. But I mean, it sort of fits this phase right now. Maybe [I’ll do] something else next year.

Florence + the Machine’s debut album, Lungs (Island Records), is available now.

Photography by Fred Lum/The Globe and Mail; Fashion Direction, Tiyana Grulovic; assistant, Kiwi Mohamed; hair and makeup, David Goveia for Tresemme (Judy Inc.). Shot on location at Jezebel Burlesque (www.jezebeltoronto.com).