Each of his Georges Wendell pieces comes laden with an imagined story: He’s a Marais-based garmento, smoking cigs and avoiding his wife in favor of his mistress. Her? She’s an ingenue, just off the Métro, smoking of course, and new to Paris from the hills of Switzerland. Some of the tropes might come off as markedly retrograde, especially considering the open minds about gender elsewhere, but Kaczmarek takes a more theatrical approach to clothing—more like costume design and less like a statement of identity.