It was a striking scene. Ghostly couture silhouettes designed by Nana Aganovich and Brooke Taylor, the duo behind Aganovich, seemed eerier still once set against the backdrop of a carpenter’s workshop.
A roaring fire rattled the panes of the Parisian atelier to the sound of pigeons cooing while models slowly navigated their way along the machines, surrounded by wood planks and various hardware. The label’s second couture collection explored the story of a woman on a journey: “She’s armed and protected, but as she goes through life things happen and she becomes someone different,” Aganovich explained.
This was expressed by trailing unfinished hems, giving the impression of the looks unraveling before the viewers’ eyes. The models’ faces were constricted by veils, with the occasional addition of fake locks of hair piled on top of their heads.
The looks were all about contrast. White billowing silhouettes were pitted against yellow plaid suits, a Victorian gown followed a jacket with a structured waist, and a delicate feather-rimmed skirt was given a hard edge when paired with leather boots held up by safety pins.
As expected of a couture collection, all the materials were treated in Paris by the label’s atelier. The brand uses the same patterns as its ready-to-wear collections but pushes the aesthetic exploration further: gold paint was applied to a pristine shirtdress, while a sleeveless ballgown was adorned with embroideries by Italian textile house Rubelli. The overall vibe was a bit costumey, but felt in line with the designers’ usual Dickensian silhouettes.