Beau Monde: The name of L'Wren Scott's Spring collection was a reference to beautiful people in the heyday of the French Riviera. But by the designer's own admission, the women who dressed for lunch at the Hotel du Cap didn't figure quite so literally. You saw the reference here and there in the sunny yellows and sky blues, the candy stripe on a high-neck blouse or the lining of a coat, and in soft Gatsby-esque dresses, a continuation of Scott's experiments with a looser silhouette—but really it was more a feeling. The golden era meant a cranked-up glamour with high-shine sequins and major jewels ("Everything is a bit sparkly," Scott said), but also a luxurious sense of ease. For the latter, look no further than a dusty-hued shirtdress gown worn with rolled sleeves and Scott's jaunty disk-shaped straw chapeau niçois. These mixed it up with her signatures. (Fans of the headmistress dress will find a new va-va-voom version, now ruched and in Valentine's Day red.)

But ultimately, the result felt a bit more all over the map from look to look than the designer's usual finely tuned composition. Scott's beau monde could easily refer to the women who wear her clothes, whether Daphne Guinness and Ellen Barkin, both at today's show, or the woman who clicks to buy on Net-a-Porter. For all her flourishes, Scott is a pragmatist and her clientele serves as her true muse. When the collection is pulled out in pieces, they'll be a typically happy group. As for her new line of bags, which debuted last season, there weren't many on the runway. But Scott wanted to see them elsewhere, tucked under the long tables that seated the lunching editors at Milk Gallery. "If I see them coming through the front door," she said, "I know it's a good sign."