Aganovich – Couturiers Tales

Aganovich SS19, Spring 2019 – Paris Fashion Week

Tony Glenville - DN Mag - Fashion Editor

By Tony Glenville

Aganovich SS19, Spring 2019 – Paris Fashion Week
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The themes and moods behind the designers creative process for a collection and the subsequent presentation can be a blessing or a curse. Heavily themed shows or overworked “concepts” don’t always communicate success to fashion.
Aganovich don’t do a theme, they do a delicious story which can only be called “Livre des Mysteres” since their myriad references, details and ghosts mix into a single coherent and strong statement without ever losing focus or beauty, but have a mysterious quality to the narrative..

The fabrics, silhouettes, construction and details, are matched by models, hair and makeup all assembled in total harmony. The attention to every element means the atmosphere of the show enfolds the spectators within its narrative, and offers them the chance to use their imaginative powers.

The sound scape for the show seemed to be heard though a door left ajar, and the crackling fire warmed the room on this dank January morning.

The editing down to a limited number of looks also means one is left wanting more rather than exhausted by overkill.
So, after all this preamble and praise, what about the clothes?

The opening checked look set the tone for the collection; sun faded check constructed into a suit with a tightly shaped and fitted jacket, paired with a long skirt in soft folds.

The short sleeves of the jacket were cuffed in blossom strewn fabric while the soft sleeves of the white blouse underneath were revealed. At the neck of the blouse’s shirt collar was a cravat formed of blonde hair. Especially in Victorian times hair was used for jewellery and keepsakes, from baby hair to dead lovers.

The brilliant thing about the collection was although there were checked looks and one exquisite dress in 17th century floral brocade plus top to toe white and black, the collection never felt disjointed, the harmony of vision was consistent throughout.

The curvy and shaped black leather look echoed the plaid suits silhouette, the enchanting white on white embroidery on one of the white skirts linked directly to the brocade, the ruched sleeves on a black ensemble were a signature detail, and so on.

The bright plaids and floral brocade were like shafts of sunlight between the pure softness of the top to toe looks in white and the sombre splendour of the black pieces.

These reminded me of the scene in the film “L’Histoire d’Adele H” where Victor Hugo’s daughter arrives in the tropics still dressed in her black Paris crinoline, but now exposed to harsh sun and dust. There was romanticism and nostalgia along with a certain madness to the looping and layering’s of fabric, yet with its own proud beauty and reasoning.

If there is an element of “costume” about the collection two things to bear in mind are; firstly this is haute couture ready to be adapted by the customer, and secondly it is directly related to the pret a porter Aganovich offer.

If the roar of applause at the conclusion of the show didn’t convince the designers of their success, the queue waiting to congratulate afterwards must have done.

TG.

 

Aganovich Photos from Front Row

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