Thuy Pham and Miho Aoki were thinking about architecture. An origamilike building technique—┐blocks,┐ as they called them, of fabric folded in on itself to create a square—turned up in various guises, from the velvet-ribbon trim of an A-line dress to the waistband finish of a poufy plaid skirt. While striking on a navy coat and effective on a plaid shirtdress, in other instances all these folds didn┐t seem to do much but add bulk to even the slenderest of runway-model frames.

For the ironic hipster with a window office at an ad agency there were, as always, desirable revamped classics, like a toggle coat, a three-piece shorts suit, and tight gloves of shimmery, cyborg gunmetal. Black sheer stockings layered over opaque white tights, on the other hand, were a hard sell. An ensemble featuring a leather riding jacket and plaid jodhpurs was satisfyingly tough but seemed incongruous among dresses that looked like Edwardian children┐s clothes. The last look, a sequined frock with a petal-tiered bell skirt, was described in the program notes as ┐geodesic┐—as in Buckminster Fuller┐s dome—but might more simply have been labeled an homage to Paul Poiret.