Tao Kurihara is a dreamer. Her whole show, in as much as could be discerned, seemed to be about a kind of somnambulism. At the end, her girls, who'd been dressed in various pouchy, drawstringed layers that might partially have been made up of brushed cotton pajamas and cozy patterned bedclothes, stood in a circle and closed their eyes.

Maybe they were meant to be visualizing what Kurihara meant by her tag for the collection, Flowing Journey. The audience was trying to figure that out, too. The general impression was of a typical House of Comme des Garçons high-concept collection, but without the coherent product base Kurihara usually makes visible in her shows. The components were black lace-covered dresses, chambray drawstringed top pieces, funny molded leopard-spot fezlike headwear, and fragmented art jackets festooned with cloth bags. Later, the voyage took in patchworked prints composed of Indian paisleys and chinoiserie fabrics and hooded dresses bearing some resemblance to djellabas. But in the end, it seemed like a rambling free-association session with no point of arrival—a journey during which Kurihara lost her audience somewhere fairly near the outset.