Angel Sanchez presented a cohesive collection of formal dresses and separates — using lines, shapes, and primary colors to a brilliant effect. The designs, which proved that simple craftsmanship can create high drama, were inspired by the “Geometry of Hope” exhibit on view at the New York University Grey Art Gallery. That exhibit, which includes works by mid-century abstract Latin American artists, showcases the personal collection of the designer’s client, friend, and fellow Venezuelan Patricia Phelps de Cisneros.

Among Mr. Sanchez’s standout looks was a spaghetti strap gown in mauve with matching square cutouts resting on the shoulders; and a white dress, with a strip of royal blue patent leather at the bustline. Only a few ensembles missed the mark because the details seemed out of proportion: red epaulets on an otherwise quiet off-white gown, and a handbag-like piece of fabric jutting out from the bodice of a yellow-green silk gown.

Mr. Sanchez more than made up for those misfires with three or four show-stoppers. These, as it turns out, were visceral and powerful expressions of specific works of art in the “Geometry of Hope” show, which this reporter viewed immediately after seeing the runway show. The white knee-length evening jacket with a spiderweb-like design on almost transparent fabric, hanging loose on the model’s body, was a living version of a wire sculpture by Gego at the opening of the art show. The hand-painted designs on gowns recall the work of Geraldo de Barros, who created swirling patterns out of original photographs of buildings.

Too often, designers cite artists in other mediums carelessly and it’s honestly hard to see the influence. With this collection, Ms. Sanchez is faithful to the energy, beauty, and intent of the original works.