The watery blue floor suggested Tory Burch’s inspiration: The 1969film “La Piscine” [“The Swimming Pool”], specifically, Romy Schneider.Yet Burch tread lightly with her source material, steering far from itsmurderous dark side to focus on the young, buoyant chic of the era. Nordid she confine her research to an old favorite, culling as well fromher own garden — with the results charming and characteristically smart.

From her backyard plantings of Queen Anne’s lace sprung amuch-used photo print, mesmerizing in its subtlety. Another printfeatured a stylized take on an aerial view of a formal garden. Burchopened with a larger botanical motif, tall flowers snaking up the crispwhite ottoman of a dress and separates.

The silhouettes wereinvariably clean with a sense of structure à la their Sixtiesinspiration, with surface action delivering the primary interest: If notflowers, then a hedge print; if not a hedge print, snappy graphiclattice work. A terrific look here was a bright white “suit” inmismatched crisscross; the jacket in leather and the skirt, guipure.Though she favored short, she went long on occasion, in languid skirtsworn with simple tops.

When it came to accessories, Burch played“the match game” to terrific effect: dresses and pants in the tinyfloral print paired with clutches or top-handles of the same pattern,lattice bag matched to lattice dress. It added up to cool efficiencythat felt fresh — economy of stuff but not of style. Speaking of coolefficiency, those words describe Burch herself. In keeping with thegarden motif, she showed three looks with big handle bags filled withfreshly cut flowers; flowers she helped arrange 10 minutes before theshow — in the men’s room at the David Koch Theater. Yet another exampleof the endless glamour of fashion.

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