Donna Karan looked to New York's Museum of Modern Art for inspiration for her spring collection. There was Jackson Pollock and Paul Klee in the graffiti prints and abstract graphics that decorated her dresses, jackets, and coats. As literal as Yves Saint Laurent's 1965 Mondrian shifts, they carried a big, visual punch, but they weren't the show's most-powerful pieces.

That distinction would be reserved for what Karan described in her run of show as freefall back dresses. Gathered by a sash in front that passed between the middle back and the fabric, they tented out behind the models as they glided around the runway. Silhouettes for both day and evening were generally full, although she did show a few strict pencil skirts, as well as fitted, cropped pants.

Two sequined gowns near the end of the show seemed out of place, mostly for their predictability. A third, with a creamy white illusion neckline and a navy body, looked too familiar. An inventive, fluid way with draping is what Karan's audience has come to expect and appreciate.