Peekaboo: Bubble-shaped cutouts offered glimpses of flesh here, there, and everywhere at Cynthia Rowley, giving the collection a decidedly flirty spin. (And that's not even bringing up the so-called "invisible" sweaters.) The runway sets, Rowley noted rapturously backstage, came from New York City Ballet productions of Romeo and Juliet and Swan Lake that had taken place at Lincoln Center, the tents' new home. Maybe so—but Juliet, for all her wiles, never used tricks like this.
The circular perforations and their equal-and-opposites, the cabochon buttons that adorned dresses, skirts, and slinky pants, dominated the show. They lent a pop-y graphic quality to everything they touched, but the effect got a little too insistent. Hitting all the right notes were the silky shirtdresses and shifts, in tension colors like putty and celadon, poppy and mist. The sherbet tones were picked up by layered enamel and gold necklaces in front and large glossy barrettes in back. More sweet than sexy, they played to Rowley's strengths.