Why is it that pajama-inspired looks keep cropping up in fashion? Pet theory: Because we’re all exhausted! What could be more luxurious than a weekend lounging around in the kind of peignoir and bed jacket Jean Harlow used to wear? For those who indulge such fantasies, Sharon Wauchob’s new collection will go down a treat. The heart of the show was its bias-cut silk dresses, their Deco-ness reduced by abbreviated lengths or a sexy, superlong slit. The Deco-ness was elaborated, meanwhile, by Wauchob’s extraordinary hand-finishing: Resuscitating one of those techniques that had seemed lost to time, she limbed her bias-cut materials in contrast stitching. She also used the technique to create a graphic effect—keenly so, in the case of a scarf-tied silk blouse. Aside from that contrast edging, Wauchob’s key embellishments here were fringe and a swirling, abstract embroidery.

Apart from the boudoir looks of would-be Daisy Buchanans, Wauchob’s main inspiration here was the ’60s, a reference she yoked to the other via the theme, “youth.” Flappers, meet mods. It made a kind of sense, and the little chevron or floral A-line dresses sat nicely in the collection. Still, this wasn’t exactly a convention of free spirits: Wauchob’s clothes, as gossamer as they often are, have a rather meditative temperament. In the case of her broad-shouldered coats, that translated into a literal heaviness today. The 1920s were the era of bootlegging and the Charleston, but they were also the era of Weimar and the Frankfurt School. You suspect the Wauchob woman would know that. You also suspect that, given the opportunity to lounge around at home for a whole weekend, she’d spend the time with her nose in a book.

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