Johanna Ortiz’s spring collection was a love letter to Colombia. Titled “Magdalena,” after the river that runs through the country, the designer offered a range of rich dresses and separates that have become her house’s staples.

Silhouettes carried through Ortiz’s signature femininity, including fluid skirts, wide-leg trousers and elegant halters, layered with fringed scarves and textured intricate bead work. But there was also a subtle shift, inspired by the women who shop her New York City boutique, toward more tailoring and structure.

That outpost, which opened last summer, has given her the opportunity to meet with clients one-on-one, and shape her creative evolution. “The Madison boutique gave me a new perspective,” she said, prompting seasonal category expansions.

The result is a more complete wardrobe for the Johanna Ortiz woman with coats, vests, band and safari-style jackets, and suiting that moves beyond her traditional day dresses.

Her palm print was there, blown up or blurred, while Ortiz played with the standard leopard print and morphed it into a light polka dot that has the softness of feathers.

Accessories emerged not as afterthoughts but as companion pieces. Basket bags, sculptural hats, and woven belts spoke of the “modern explorer,” as she calls her woman — someone on the move.

Ortiz’ longtime collaboration with goldsmith Omar Hurtado yielded exquisite takes on the traditional Poporo storage vessels, that can be inserted inside of handbags, and the new “Serpent Suite” jewelry pieces, that take inspiration from pre-Columbian and Mesoamerican art.

Models were styled with traditional Mochilas, small crossbody carrying pouches of sorts, from Ortiz’ own closet, which were handcrafted by the Kankwama community of the Sierra Nevada. It was another testament to how personal her work is.

With strong sales in the New York and Palm Beach boutiques, as well as an ongoing pop-up in L.A., Ortiz is looking at Texas next. But she is expanding slowly, well aware her handicraft-based, vertically integrated production model, which relies on 480 house-trained artisans, has human limits. It’s all comfortably elegant, and could be widely commercial, but she doesn’t want to compromise on quality.