Just as lovely, and also romantic, were the clothes. A plethora of ruffles decorated asymmetrical dresses, barely-there slip dresses, and even the back of a terrific tailored black satin jacket worn as part of a suit. Shell tops in barely-there lace and mesh were decorated with gathers or pleats or even sculpted flowers, classic sweatshirts had billowing chiffon sleeves, and chunky mesh boots were worn with ruffly lace socks (the first from the designer’s own in-house brand). Even the less outwardly femme pieces still had a certain softness about them—see the plaid tweed jacket paired with a washed striped button down shirt and a bubbly little donut pouf of a mini skirt.

Prints were delivered two ways—in levels of brightly saturated color or washed as if they’d been picked up at the beach after being in the sun and the saltwater, banging against the rocks for several weeks. Although the color palette was largely made up of pastels, it was grounded by a series of all-black looks at the end, as well as bold turquoise.

Halfway through the show, Ashlee Simpson’s hit 2004 song “Pieces of Me,” started playing on the soundtrack, except this was a bossa nova version with the lyrics changed to be about Collina Strada and eating one’s vegetables. Everything about it was charming, and also, crucially, self-assured. “We’re still trying to have a fun, goofy Collina, but in a grown way,” Taymour said a few days before. She certainly accomplished it. There was a sense that after a few seasons where Taymour seemed to be exploring the limits of a certain kind of maximalism, she’d decided to strip everything back and find the singular essence that makes Collina Strada.The closing model wore a black lace top with matching black bloomers and pushed an “analog” lawnmower while sporting a pair of glasses from the designer’s newly-launched sunglasses line, like he was breaking the ground before planting a new garden.