February 25, 2014 Paris
Yet for all these obvious (often overworked) allusions, there were some interesting illusions that spoke to Aganovich's skill in the nonmagical art of cutting and sewing. Most of the jackets and shirting featured interior snap closures—as close as the designer could get to invisible. The sleeves of a silk crepe jacket were tacked at the elbows like permanent creasing. And tailored pieces that at first appeared generously proportioned were actually suiting facades with billowy backs. All this legerdemain results in a theatricality that attracts a particular crowd—and to be sure, it's not for everyone. Which is why a handful of cloak-style coats in solid black wool (all shown with boot-cut leggings) stood out most of all; the period details had been pared back and they felt believably modern. Now if only Aganovich could see this herself.