Aisling Camps’ NYFW debut last fall was such a success that she decided to take on the runway this season, having earned a spot in the running for the CFDA/Vogue Fashion Fund along the way.

Against a sunflower painting by the French-Lebanese artist Christine Safa, whose work dotted the Bortolami Gallery where her show was held, Camps nodded to everyone involved in the competition for their support. Meta, Nordstrom, Bloomingdale’s, “these C-suite types are giving me their insight, so it’s been really special to build those relationships,” she said, “to start building that foundation.”

The fashion industry works a lot like Camps’ artisanal knitwear. It’s an interwoven system in which no single thread is more important than any other.

That tangled web is what Camps explored for spring. Pullovers were schlubby, stretched out with their sleeves extending past the models’ hands as if stored on hangers rather than folded. Elsewhere, crocheted cotton, occasionally laced with charmeuse, had gaping holes, while fringed tops appeared to unravel, barely clinging to their thread-like halters.

Several threads tied back to Camps’ roots in Tobago. She said her use of red, white and black — the colors in the Trinidadian flag — was “subconscious,” but she was happy nonetheless to send a patriotic message so soon after the island’s Independence Day.

More deliberate was her emphasis on sex appeal in the outré way her teenage self would’ve been drawn to. “I was definitely the one wearing a bikini to pump my gas on the way to the beach,” Camps chuckled.

She could obviously still rock one of her convertible “bikini” tops, or even a mini tank dress cut-and-pasted into the collection from a picture of her younger self that was on her mood board. But the woman she is now would probably add a cool low-slung boy short.

This was a tightly edited lineup (only 20 looks), but Camps satisfied in her breadth of textures, providing a great foundation to build on.