explained before her show that she found inspiration this season in a book of photographs of dancers in the New York City Ballet. The reference wasn't particularly literalized in Wauchob's collection, but you could see her working through the idea she said was her key takeaway from those photos—the awesome physical toughness that goes into creating dances of great beauty. The clothes traded between the muscular and the evanescent, in largely pleasing ways. The loveliest looks here saw Wauchob working with lace—she turned out several cool dresses of cobweb fineness and a clutch of low-slung lace skirts that were even more gossamer. You did wonder about the practicality of these pieces, but they were so nicely done, your mind shushed the thought away. Elsewhere, Wauchob had a good thing going with her gold-dappled looks, some of which she'd studded with tiny gold beads, and others that had gold thread woven through the fabric in a pointillist way. The gold gave a sense of drama to looks that might otherwise have been mundane, like a draped black wool skirt, or a black cashmere coat with oversize lapels. Another nice idea was tops with long draped fabric knotted off to one side; they had a faint suggestion of those wrap sweaters ballerinas tie over their leotards at rehearsal. Wauchob did a good job of capturing that look's offhand-ness. All in all, this wasn't a groundbreaking show, and some of the daywear silhouettes came off a touch muddled, but it was stocked with a handful of pieces that felt genuinely special.