Tory Burch comes across as the sweetest, gentlest soul on Seventh Avenue, but her collections always seem to end up hinting at violent passion. Last season, it was armored medievalism. For Spring, Burch’s muse was Françoise Gilot. “Because she was a strong woman and a great artist,” she said a little testily when asked why. “And she was the only woman who left Picasso.”
Gilot may have left Picasso, but he towered over the rest of her life as heavily as his presence hung here. A tunic top and matching long skirt were cut from a toile de Jouy pattern that depicted the cypress-surrounded villa in Vallauris where the couple lived for years. It was in Vallauris that Picasso developed the fascination with ceramics that would yield his most prodigious body of work. Burch showed pieces in engineered broderie anglaise that duplicated ceramic patterns.