Last year, Cynthia Rowley stumbled upon 5 Beekman Street, a downtown Manhattan building from a grand bygone era. With dramatic interior balconies on every floor and a heavenly, albeit creepy, glass ceiling, Rowley imagined the long-ago parties held there. Thus for the spring, the designer threw a fete of her own in the space, complete with confetti floating from the balconies and models wearing bracelets that doubled as flasks. Loose dresses and tops in exaggerated, voluminous silhouettes were worked in abstract prints built from snapshots Rowley took of peeling wallpaper inside the old building; the motif was then layered with another print of foil confetti. The shiny treatments also appeared on a rich lace dress and down the sides of knits, all manipulated to look as if they had been worn off. Despite all that, the clothes were decidedly polished and more pared down than a typical Rowley collection.

Last year, Cynthia Rowley stumbled upon 5 Beekman Street, a downtown Manhattan building from a grand bygone era. With dramatic interior balconies on every floor and a heavenly, albeit creepy, glass ceiling, Rowley imagined the long-ago parties held there. Thus for the spring, the designer threw a fete of her own in the space, complete with confetti floating from the balconies and models wearing bracelets that doubled as flasks. Loose dresses and tops in exaggerated, voluminous silhouettes were worked in abstract prints built from snapshots Rowley took of peeling wallpaper inside the old building; the motif was then layered with another print of foil confetti. The shiny treatments also appeared on a rich lace dress and down the sides of knits, all manipulated to look as if they had been worn off. Despite all that, the clothes were decidedly polished and more pared down than a typical Rowley collection.

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