The watery blue floor suggested Tory Burch’s inspiration: The 1969 film “La Piscine” [“The Swimming Pool”], specifically, Romy Schneider. Yet Burch tread lightly with her source material, steering far from its murderous dark side to focus on the young, buoyant chic of the era. Nor did she confine her research to an old favorite, culling as well from her own garden — with the results charming and characteristically smart.
From her backyard plantings of Queen Anne’s lace sprung a much-used photo print, mesmerizing in its subtlety. Another print featured a stylized take on an aerial view of a formal garden. Burch opened with a larger botanical motif, tall flowers snaking up the crisp white ottoman of a dress and separates.
The silhouettes were invariably clean with a sense of structure à la their Sixties inspiration, with surface action delivering the primary interest: If not flowers, then a hedge print; if not a hedge print, snappy graphic lattice work. A terrific look here was a bright white “suit” in mismatched crisscross; the jacket in leather and the skirt, guipure. Though she favored short, she went long on occasion, in languid skirts worn with simple tops.
When it came to accessories, Burch played “the match game” to terrific effect: dresses and pants in the tiny floral print paired with clutches or top-handles of the same pattern, lattice bag matched to lattice dress. It added up to cool efficiency that felt fresh — economy of stuff but not of style. Speaking of cool efficiency, those words describe Burch herself. In keeping with the garden motif, she showed three looks with big handle bags filled with freshly cut flowers; flowers she helped arrange 10 minutes before the show — in the men’s room at the David Koch Theater. Yet another example of the endless glamour of fashion.