A landscape print by the French artist Rosemarie Auberson opened Rachel Comey's show (after a resonant drum prologue by the New York indie band I.U.D.). Splashed across the torso of a white sack dress, that image read quite literally, but elsewhere Comey's well-documented penchant for prints had taken a quieter turn. "I'm taking them to a more subtle, textural level," the designer said in a phone call a few days before her show. "And I like it."

To wit, she photographed cable knit, blew up the image, and printed it on an off-the-shoulder silk dress with a fluttering handkerchief hem. The same print popped up in another unlikely place: splashed across a one-piece bathing suit. The dresses, overall, were winning. They floated away from the frame dreamily or revealed a slice of leg as the model breezed past. The best spoke to Comey's smart play on texture, with half of a black eyelet bodice peeking out from beneath a draped, one-shoulder silk sundress in an orange-and-blue floral. In the past, Comey's cult-status shoes have sometimes stolen the show from the apparel. The color-blocked brogues and Moroccan slippers were great, but this season it was hard to take your eyes off of what was going on up top.