The silhouette that stood out tonight on the Aganovich runway was a tweed suit — jacket and trousers matching inasmuch as any outfit designed by the husband-and-wife duo Nana Aganovich and Brooke Taylor can muster. It incorporated the folds and fabric sculpting that the duo have experimented with, yet delicately delivered.
Despite being rather similar to previous outings — there was a hint of period dressing, and you could hardly say there was color —few of the silhouettes felt like retreads. It takes Aganovich's skill in cutting and sewing to assemble so fetchingly the many layers of fabric to form the swooshing expanse of a poplin shirt, or the asymmetric cross-over that finishes a voluminous black coat. Thick Rubelli brocades (a perennial favorite supplier) came together with gentler, softer fabrics. What resulted from the splicing and layering felt like rags done right, a collage of fabrics sublimated by pure technique. If still inspired by the performers and street jesters of yesteryear, the result was unequivocally of the now. Provided you are of the deconstructivist wardrobe obedience, of course.
There is always the question of who would wear Aganovich. Previously, theatricality pulled away from a wider audience. Tonight, many of the cropped jackets and even the skinny trousers felt credibly modern. You could see an art gallery maven foregoing Yohji Yamamoto for this. In fact, this collection might have just been the litmus test to show what retail numbers have been hinting at.