Showing posts with label Joseph Altuzarra. Show all posts
Showing posts with label Joseph Altuzarra. Show all posts
Altuzarra Fall 2011 Show Video
Altuzarra Fall 2011 Show
Time: February 12, 2011 at 8:00pm
Location: Milk Studios, 450 West 15th Street, 2nd Floor
Stylist: Melanie Huynh
Hair: Paul Hanlon
Makeup: Tom Pecheux
Casting Director: Kannon Rajah
Models: Toni Garrn, Jourdan Dunn, Mirte Maas, Fei Fei Sun, Daria Strokous, Britt Maren, and Kasia Struss (closed)
Time: February 12, 2011 at 8:00pm
Location: Milk Studios, 450 West 15th Street, 2nd Floor
Stylist: Melanie Huynh
Hair: Paul Hanlon
Makeup: Tom Pecheux
Casting Director: Kannon Rajah
Models: Toni Garrn, Jourdan Dunn, Mirte Maas, Fei Fei Sun, Daria Strokous, Britt Maren, and Kasia Struss (closed)
Altuzarra Fall 2011 Show
Altuzarra Fall 2011 Show
Time: February 12, 2011 at 8:00pm
Location: Milk Studios, 450 West 15th Street, 2nd Floor
Stylist: Melanie Huynh
Hair: Paul Hanlon
Makeup: Tom Pecheux
Casting Director: Kannon Rajah
Models: Toni Garrn, Jourdan Dunn, Mirte Maas, Fei Fei Sun, Daria Strokous, Britt Maren, and Kasia Struss (closed)
Toni Garrn
Jourdan Dunn
Mirte Maas
Fei Fei Sun
Daria Strokous
Britt Maren
Kasia Struss (closed)
Time: February 12, 2011 at 8:00pm
Location: Milk Studios, 450 West 15th Street, 2nd Floor
Stylist: Melanie Huynh
Hair: Paul Hanlon
Makeup: Tom Pecheux
Casting Director: Kannon Rajah
Models: Toni Garrn, Jourdan Dunn, Mirte Maas, Fei Fei Sun, Daria Strokous, Britt Maren, and Kasia Struss (closed)
Toni Garrn
Jourdan Dunn
Mirte Maas
Fei Fei Sun
Daria Strokous
Britt Maren
Kasia Struss (closed)
Q. and A. With Carine Roitfeld
By Eric Wilson for The New York Times:
The 90th-anniversary issue of Vogue Paris hit newsstands here this week, just in time for the Paris collections and an elaborate masked ball that Carine Roitfeld, the editor, is planning on Thursday night in a hotel particulier. The theme of the party is “Eyes Wide Shut,” and Ms. Roitfeld expects everyone to look as good as her October cover model, Lara Stone, who appears in a lace mask by Philip Treacy.
Ms. Roitfeld’s new issue set a record for the publication with 620 pages, many of them advertisements created specially for the anniversary, like one by Chanel that consists of a sketch by Karl Lagerfeld that shows the designer standing just behind Coco Chanel herself, her hands stuffed in her skirt pockets. For the magazine’s feature well, Ms. Roitfeld opened each photo portfolio with an archival image, followed by a contemporary take on fashion inspired by the same story. For example, a Horst P. Horst image of a masked ball from 1934 leads into a an erotic fantasy of masked models by Mert Alas and Marcus Piggot. Mario Sorrenti, David Sims, Steven Klein and Hedi Slimane also contributed to the issue.
Perhaps the most controversial story will be Terry Richardson’s images of Crystal Renn, the (not quite) plus-size model who has become a vocal advocate for incorporating different sizes in fashion magazines. Here, she is shown gorging on an endless feast, about to stuff an entire squid into her mouth in one picture, gnawing on beef, sausage and poultry in others. It’s a statement.
Ms. Roitfeld, when I met her in her office, said the shoot was actually inspired by the 1973 movie “La Grande Bouffe,” the dark Marco Ferreri film about a group of men who retire to a villa to eat themselves to death. Ms. Roitfeld said she realized, while looking at the provocative — and sometimes shocking — imagery from Vogue’s past, that it is the job of fashion magazines to continue to push boundaries and provoke, even in the face of attacks on their judgment.
Here are some excerpts from our conversation:
How do you feel about the magazine at 90?
In 90 years, we haven’t changed the mood of the magazine. It’s still very audacious. It’s still about beauty. It’s still about excess. It’s still very avant-garde. When we started to do the research, we discovered the same mood in the past, so we are very happy to feel that we are still looking like the iconic Vogue of Newton and Guy Bourdin. We try to be sophisticated, while a little on the edge all the time. But what I can see is that now, the censoring is bigger than it was 20, 30 or 40 years ago. I think we have less freedom. Today some pictures would not even be publishable. It’s not just about the nudity, but when you talk about things politically, the military, kids, it would all be politically incorrect and not publishable today.
How does that make you feel as an editor?
That we have to fight to keep this un-politically correct attitude of French Vogue, but it’s more and more difficult to be able do that. You cannot smoke, you cannot show arms, you cannot show little girls, because everyone now is very anxious not to have problems with the law. Everything we do now is like walking in high heels on the ice, but we keep trying to do it.
When you explain your philosophy about fashion to anyone who wants to contribute to French Vogue, what is it that you tell them?
Vogue is a very specific world. You are Vogue, or not Vogue. There are some editors and writers who can be very good, and still not Vogue. How can I describe it? It is, first, having the sense of luxury. It’s a sense of craziness, a bit. It’s a sense of beauty, because the images we are printing, most of them are going to be in a museum. It has to be cultural, because I think the French woman is not just interested in fashion. She is interested in painting, reading, movies and art, so it is a lot of things, altogether, to be a Vogue photographer, writer or stylist. And a Vogue reader.
What are you most proud of that you have brought to this magazine in the last 10 years?
When I see this anniversary issue, I think it is the best coffee-table book. I think it is good when something can stay interesting for a long time. It’s not just a trend for one month. What we did in this issue, I hope, in 10 years, will not be démodé, because now everyone can see fashion on the Internet. You can go on Style.com and see everything, but not how to wear it. This is what we try to give to the readers of Vogue.
How do you remain personally engaged with fashion when everyone else can see it online?
It’s still exciting to me, because when I am going to a fashion show, I’m not just looking at the clothes. I’m looking at the mood, I’m listening to the music, so sometimes, I can be a bit disappointed in one, two or three shows, and then I see a great one and my energy goes up again. There were some big fashion moments last week in Italy, like when you go to Prada, and wonder what’s she going to do this time, or at Dolce & Gabbana, and you are almost ready to cry. Maybe I still like the clothes. I don’t see them just to wear them, I see them as a piece of art sometimes.
With all the new designers hoping to be discovered, how do you know when someone really has it?
It is difficult. First, we have to find a moment to look at these young stylists, because we are overbooked with shows, overbooked with appointments and work like everyone else. But we try to find the time, because they are the future of tomorrow. When you talk to them, you know almost instantly. It’s like an instinct when you see a young painter or photographer. Because we have a big power, we have to use it to give an opportunity to some young kids, designers, makeup artists, photographers and models. It’s good that Anna Wintour was the one who needed to kick our butt, in a way, to do something. She did a lot in America, but in Paris, we were a bit slow. Now we understand, and we’ve seen so much return that we are going to be more and more aware to help.
Who do you think among the younger generation has the potential to become big?
I am very surprised by someone like Alexander Wang. I am amazed how he is good with fashion, with business, with public relations himself, with an attitude in his clothes that is spoken immediately. And I think a young guy called Joseph Altuzarra, who went to New York, is the next one to be big. The clothes he makes are very beautiful, and they are very wearable.
What bothers you about fashion today?
Sometimes I think, Why do I have to go to a show? Half an hour driving, half an hour waiting, seeing the show, then half an hour back. And when I get back, I see the show on the Internet. Sometimes it goes too quick sometimes. I like the idea of what Tom Ford did in New York. No one saw one outfit, except the 100 people who were guests. It was smart, because it makes envy. It’s too easy that Prada makes a collection and two hours later its on the Net and everyone can copy it. It’s too quick now, but I don’t think we can do anything about that. It’s just the time.
What’s next for you?
I’m full of ideas, and I want to have more parties and shows for the public. I want to make fashion more festive in Paris. This week we have the Vogue bar at the Crillon, where we changed the décor, the cocktail list, the pictures on the wall. The drinks are named after people. My drink is a Testarossa. It’s Campari and vodka, to fly very high, very far, very quick. We have the dirty martini of Stephen Gan — it’s delicious — and the apple martini of Tom Ford. I have a new job now: bartender. That is my dream, and also to open a karaoke.
What would be your song?
“You’re So Vain.” I think in this business, it’s a good song. It’s dedicated to a lot of people.
The 90th-anniversary issue of Vogue Paris hit newsstands here this week, just in time for the Paris collections and an elaborate masked ball that Carine Roitfeld, the editor, is planning on Thursday night in a hotel particulier. The theme of the party is “Eyes Wide Shut,” and Ms. Roitfeld expects everyone to look as good as her October cover model, Lara Stone, who appears in a lace mask by Philip Treacy.
Ms. Roitfeld’s new issue set a record for the publication with 620 pages, many of them advertisements created specially for the anniversary, like one by Chanel that consists of a sketch by Karl Lagerfeld that shows the designer standing just behind Coco Chanel herself, her hands stuffed in her skirt pockets. For the magazine’s feature well, Ms. Roitfeld opened each photo portfolio with an archival image, followed by a contemporary take on fashion inspired by the same story. For example, a Horst P. Horst image of a masked ball from 1934 leads into a an erotic fantasy of masked models by Mert Alas and Marcus Piggot. Mario Sorrenti, David Sims, Steven Klein and Hedi Slimane also contributed to the issue.
Perhaps the most controversial story will be Terry Richardson’s images of Crystal Renn, the (not quite) plus-size model who has become a vocal advocate for incorporating different sizes in fashion magazines. Here, she is shown gorging on an endless feast, about to stuff an entire squid into her mouth in one picture, gnawing on beef, sausage and poultry in others. It’s a statement.
Ms. Roitfeld, when I met her in her office, said the shoot was actually inspired by the 1973 movie “La Grande Bouffe,” the dark Marco Ferreri film about a group of men who retire to a villa to eat themselves to death. Ms. Roitfeld said she realized, while looking at the provocative — and sometimes shocking — imagery from Vogue’s past, that it is the job of fashion magazines to continue to push boundaries and provoke, even in the face of attacks on their judgment.
Here are some excerpts from our conversation:
How do you feel about the magazine at 90?
In 90 years, we haven’t changed the mood of the magazine. It’s still very audacious. It’s still about beauty. It’s still about excess. It’s still very avant-garde. When we started to do the research, we discovered the same mood in the past, so we are very happy to feel that we are still looking like the iconic Vogue of Newton and Guy Bourdin. We try to be sophisticated, while a little on the edge all the time. But what I can see is that now, the censoring is bigger than it was 20, 30 or 40 years ago. I think we have less freedom. Today some pictures would not even be publishable. It’s not just about the nudity, but when you talk about things politically, the military, kids, it would all be politically incorrect and not publishable today.
How does that make you feel as an editor?
That we have to fight to keep this un-politically correct attitude of French Vogue, but it’s more and more difficult to be able do that. You cannot smoke, you cannot show arms, you cannot show little girls, because everyone now is very anxious not to have problems with the law. Everything we do now is like walking in high heels on the ice, but we keep trying to do it.
When you explain your philosophy about fashion to anyone who wants to contribute to French Vogue, what is it that you tell them?
Vogue is a very specific world. You are Vogue, or not Vogue. There are some editors and writers who can be very good, and still not Vogue. How can I describe it? It is, first, having the sense of luxury. It’s a sense of craziness, a bit. It’s a sense of beauty, because the images we are printing, most of them are going to be in a museum. It has to be cultural, because I think the French woman is not just interested in fashion. She is interested in painting, reading, movies and art, so it is a lot of things, altogether, to be a Vogue photographer, writer or stylist. And a Vogue reader.
What are you most proud of that you have brought to this magazine in the last 10 years?
When I see this anniversary issue, I think it is the best coffee-table book. I think it is good when something can stay interesting for a long time. It’s not just a trend for one month. What we did in this issue, I hope, in 10 years, will not be démodé, because now everyone can see fashion on the Internet. You can go on Style.com and see everything, but not how to wear it. This is what we try to give to the readers of Vogue.
How do you remain personally engaged with fashion when everyone else can see it online?
It’s still exciting to me, because when I am going to a fashion show, I’m not just looking at the clothes. I’m looking at the mood, I’m listening to the music, so sometimes, I can be a bit disappointed in one, two or three shows, and then I see a great one and my energy goes up again. There were some big fashion moments last week in Italy, like when you go to Prada, and wonder what’s she going to do this time, or at Dolce & Gabbana, and you are almost ready to cry. Maybe I still like the clothes. I don’t see them just to wear them, I see them as a piece of art sometimes.
With all the new designers hoping to be discovered, how do you know when someone really has it?
It is difficult. First, we have to find a moment to look at these young stylists, because we are overbooked with shows, overbooked with appointments and work like everyone else. But we try to find the time, because they are the future of tomorrow. When you talk to them, you know almost instantly. It’s like an instinct when you see a young painter or photographer. Because we have a big power, we have to use it to give an opportunity to some young kids, designers, makeup artists, photographers and models. It’s good that Anna Wintour was the one who needed to kick our butt, in a way, to do something. She did a lot in America, but in Paris, we were a bit slow. Now we understand, and we’ve seen so much return that we are going to be more and more aware to help.
Who do you think among the younger generation has the potential to become big?
I am very surprised by someone like Alexander Wang. I am amazed how he is good with fashion, with business, with public relations himself, with an attitude in his clothes that is spoken immediately. And I think a young guy called Joseph Altuzarra, who went to New York, is the next one to be big. The clothes he makes are very beautiful, and they are very wearable.
What bothers you about fashion today?
Sometimes I think, Why do I have to go to a show? Half an hour driving, half an hour waiting, seeing the show, then half an hour back. And when I get back, I see the show on the Internet. Sometimes it goes too quick sometimes. I like the idea of what Tom Ford did in New York. No one saw one outfit, except the 100 people who were guests. It was smart, because it makes envy. It’s too easy that Prada makes a collection and two hours later its on the Net and everyone can copy it. It’s too quick now, but I don’t think we can do anything about that. It’s just the time.
What’s next for you?
I’m full of ideas, and I want to have more parties and shows for the public. I want to make fashion more festive in Paris. This week we have the Vogue bar at the Crillon, where we changed the décor, the cocktail list, the pictures on the wall. The drinks are named after people. My drink is a Testarossa. It’s Campari and vodka, to fly very high, very far, very quick. We have the dirty martini of Stephen Gan — it’s delicious — and the apple martini of Tom Ford. I have a new job now: bartender. That is my dream, and also to open a karaoke.
What would be your song?
“You’re So Vain.” I think in this business, it’s a good song. It’s dedicated to a lot of people.
Joseph Altuzarra Spring 2011 Show
Joseph Altuzarra Spring 2011 Show
Time: September 11, 2010 at 8:00 pm
Location: Milk Studios, 450 West 15th Street, 2nd Floor
Stylist: Melanie Huynh
Makeup: Tom Pecheux
Hair: Paul Hanlon
Casting Director: Stefanie Stein
Fei Fei Sun
Daria Strokous
Eliza Cummings
Mirte Maas
Alejandra Alonso
Time: September 11, 2010 at 8:00 pm
Location: Milk Studios, 450 West 15th Street, 2nd Floor
Stylist: Melanie Huynh
Makeup: Tom Pecheux
Hair: Paul Hanlon
Casting Director: Stefanie Stein
Fei Fei Sun
Daria Strokous
Eliza Cummings
Mirte Maas
Alejandra Alonso
Cathy Horyn has something to say
Natasha Poly at Joseph Altuzarra fall 2010 show:
from today's New York Times:
February 14, 2010
Three Nominees for Who’s ‘Next’
By CATHY HORYN
Joseph Altuzarra is a Swarthmore-educated Paris-bred son of an American mother and a French father. Prabal Gurung grew up in Katmandu and trained at Bill Blass. At 25, Alexander Wang is the hitmaker of contemporary urban fashion, his $25-million business already surpassing that of many established designers.
If fashion didn’t routinely select a new group of designers to acclaim, it wouldn’t be fashion. There must always be someone waiting in the wings, the “next” one. These three designers now appear to be the leading candidates.
It is clear that Mr. Wang has managed to give his collections the properties of high fashion — top models; coveted accessories; a cool, insolent sensibility — while making affordable clothes that many women, not just skinny hipsters, can wear. His show again achieved the illusion of being something more than a contemporary-priced collection. With their matted hair and vacant gazes, the models, led by Natalia Vodianova, looked possessed by zombies, but you can bet that people will wonder when they can get their hands on the elephant-belled thigh-high tights that Mr. Wang showed with his miniskirts and platform boots. Like an old-fashioned merchant, Mr. Wang knows how to get value out of a single item.
The collection drew heavily on deconstructed tailoring: pinstripe blazers and vests lopped off at the midriff, blended with a furry layer or a broken lace top and a pair of boy trousers with part of the waistband snipped away. If it sounds a little tricky, with many extra parts, it was. Traditional garments of power and formality were the sources for swallowtail minidresses and camel wool clergy capes, and the general gloominess. Still, the collection was an ambitious step up for Mr. Wang, and despite the moving parts, it looked polished.
Mr. Gurung has a knack for the languid, jazzy tailoring of a Blass or a Saint Laurent, his spiritual mentors, and that feeling was captured in a fresh way in his first show last February. He also demonstrated in the next season that he could do chic dresses in double-silk satin with pleats and peplums.
So he didn’t need to repeat himself this time. While most of the day clothes were fairly solid — two-tone coats and suits in cashmere with curvilinear lines, boxy metallic tweed blazers — the ruffled evening looks didn’t seem new and indeed looked a bit tortured. A lanky jacket, shown with pants, that combined fox, mink and broadtail captured the lighter, offhand attitude that Mr. Gurung first conveyed, and to which he should return.
What gives Mr. Altuzarra an edge over virtually all the new young designers in New York is that he has a masterfully light hand with couture materials. His admiration for Tom Ford’s ability to give familiar shapes an extra kick of design and urgency was evident in this collection, his fourth. And the sexy fierceness of the mostly black clothes was incredibly appealing.
A number of designers this season are showing jackets that combine two or three different materials — fur and wool, say. In their straightforward collection, rich in texture, Alexa Adams and Flora Gill of the label Ohne Titel mixed suede with what appeared to be knitted fur, or black leather and a softer ribbed fabric.
But the motive in this collection and others seems to be to lend novelty to an otherwise basic garment. Nothing new or interesting is being proposed. And in some cases the contrasting textures come together in a lumpy way.
The difference with Mr. Altuzarra’s clothes — belted, close-to-the-body suits in black boiled wool with shoulders or fronts of glossy black goat hair — is that the choices feel more considered. He’s not just making a collage. Also, the workmanship on rather tough-looking materials, like leather and the glazed wool of a dress with laced vents, is consistently delicate.
Mr. Altuzarra used Frankenstein stitching on many of the pieces, in part to suggest the feeling of things coming apart, but the stitches are fine and random in length. As much as the big showy gestures, like the goat hair or the raised storm collars or the wool coats shaped by rows of buckled straps, the sutures play their part in an excellent collection.
The news at Preen, which is designed by Justin Thornton and Thea Bregazzi, was a bold, dark floral print used for blouses and dresses with articulated bra cups. There were a lot of familiar plays on transparency (dresses cut with random holes, sheer yokes). What looked fresh was a straight-line charcoal pantsuit over that blue-gray print.
Regina Feoktistova at Alexander Wang fall 2010 show:
from today's New York Times:
February 14, 2010
Three Nominees for Who’s ‘Next’
By CATHY HORYN
Joseph Altuzarra is a Swarthmore-educated Paris-bred son of an American mother and a French father. Prabal Gurung grew up in Katmandu and trained at Bill Blass. At 25, Alexander Wang is the hitmaker of contemporary urban fashion, his $25-million business already surpassing that of many established designers.
If fashion didn’t routinely select a new group of designers to acclaim, it wouldn’t be fashion. There must always be someone waiting in the wings, the “next” one. These three designers now appear to be the leading candidates.
It is clear that Mr. Wang has managed to give his collections the properties of high fashion — top models; coveted accessories; a cool, insolent sensibility — while making affordable clothes that many women, not just skinny hipsters, can wear. His show again achieved the illusion of being something more than a contemporary-priced collection. With their matted hair and vacant gazes, the models, led by Natalia Vodianova, looked possessed by zombies, but you can bet that people will wonder when they can get their hands on the elephant-belled thigh-high tights that Mr. Wang showed with his miniskirts and platform boots. Like an old-fashioned merchant, Mr. Wang knows how to get value out of a single item.
The collection drew heavily on deconstructed tailoring: pinstripe blazers and vests lopped off at the midriff, blended with a furry layer or a broken lace top and a pair of boy trousers with part of the waistband snipped away. If it sounds a little tricky, with many extra parts, it was. Traditional garments of power and formality were the sources for swallowtail minidresses and camel wool clergy capes, and the general gloominess. Still, the collection was an ambitious step up for Mr. Wang, and despite the moving parts, it looked polished.
Mr. Gurung has a knack for the languid, jazzy tailoring of a Blass or a Saint Laurent, his spiritual mentors, and that feeling was captured in a fresh way in his first show last February. He also demonstrated in the next season that he could do chic dresses in double-silk satin with pleats and peplums.
So he didn’t need to repeat himself this time. While most of the day clothes were fairly solid — two-tone coats and suits in cashmere with curvilinear lines, boxy metallic tweed blazers — the ruffled evening looks didn’t seem new and indeed looked a bit tortured. A lanky jacket, shown with pants, that combined fox, mink and broadtail captured the lighter, offhand attitude that Mr. Gurung first conveyed, and to which he should return.
What gives Mr. Altuzarra an edge over virtually all the new young designers in New York is that he has a masterfully light hand with couture materials. His admiration for Tom Ford’s ability to give familiar shapes an extra kick of design and urgency was evident in this collection, his fourth. And the sexy fierceness of the mostly black clothes was incredibly appealing.
A number of designers this season are showing jackets that combine two or three different materials — fur and wool, say. In their straightforward collection, rich in texture, Alexa Adams and Flora Gill of the label Ohne Titel mixed suede with what appeared to be knitted fur, or black leather and a softer ribbed fabric.
But the motive in this collection and others seems to be to lend novelty to an otherwise basic garment. Nothing new or interesting is being proposed. And in some cases the contrasting textures come together in a lumpy way.
The difference with Mr. Altuzarra’s clothes — belted, close-to-the-body suits in black boiled wool with shoulders or fronts of glossy black goat hair — is that the choices feel more considered. He’s not just making a collage. Also, the workmanship on rather tough-looking materials, like leather and the glazed wool of a dress with laced vents, is consistently delicate.
Mr. Altuzarra used Frankenstein stitching on many of the pieces, in part to suggest the feeling of things coming apart, but the stitches are fine and random in length. As much as the big showy gestures, like the goat hair or the raised storm collars or the wool coats shaped by rows of buckled straps, the sutures play their part in an excellent collection.
The news at Preen, which is designed by Justin Thornton and Thea Bregazzi, was a bold, dark floral print used for blouses and dresses with articulated bra cups. There were a lot of familiar plays on transparency (dresses cut with random holes, sheer yokes). What looked fresh was a straight-line charcoal pantsuit over that blue-gray print.
Regina Feoktistova at Alexander Wang fall 2010 show:
Joseph Altuzarra fall 2010 show
Joseph Altuzarra Fall 2010 Show
Time: February 13,2009 at 8:00 pm
Location: Milk Studios, 450 West 15th street, NY, NY
Stylist: Melanie Huynh
Casting Director: Stefanie Stein
From style.com:
NEW YORK, February 13, 2010
By Nicole Phelps
In an abrupt shift from last season's dreamy seventies-inflected stenciled ponchos and shredded suede and point d'esprit apron dresses, Joseph Altuzarra sent out a fierce and fearless collection of structured tailoring, commanding outerwear, and seriously sexy dresses. Ironically, some designers have been moving in the opposite direction lately, and yet Altuzarra's counterintuitive move was completely convincing. Backstage he explained he wanted to explore the dichotomies between strength and fragility, modern reality and fairy tales. At the outset, it was hard to see where the fragility came in, so potent and imposing was the first model out in her jacket pieced together, in the au courant manner, from nubby wool, leather, and goat fur. A second glance, however, revealed that the seams at the back of the blazer's arms were stitched roughly, like sutures.
The Edward Scissorhands motif continued throughout: Sometimes the stitches were taut, revealing just a flash of skin between the curving seams of a pair of narrow pants; other times, Altuzarra took a looser approach, as when knitting together the splices in a stretchy hourglass dress. Even the boots were slashed to reveal the ankle. Belts and buckles, meanwhile, provided another suggestive element. There were shades of S&M in a pencil skirt with straps holding its hip-high slits together. The blood red evening dresses flashing décolletage and thigh weren't for the faint of heart, either.This was just Altuzarra's third collection, but the confidence of his technique and vision would suggest that his newcomer days are over.
Kasia Struss
Mirte Maas
Natasha Poly
Yulia Kharlapanova
Aline Weber
Natasha Poly (closed)
Time: February 13,2009 at 8:00 pm
Location: Milk Studios, 450 West 15th street, NY, NY
Stylist: Melanie Huynh
Casting Director: Stefanie Stein
From style.com:
NEW YORK, February 13, 2010
By Nicole Phelps
In an abrupt shift from last season's dreamy seventies-inflected stenciled ponchos and shredded suede and point d'esprit apron dresses, Joseph Altuzarra sent out a fierce and fearless collection of structured tailoring, commanding outerwear, and seriously sexy dresses. Ironically, some designers have been moving in the opposite direction lately, and yet Altuzarra's counterintuitive move was completely convincing. Backstage he explained he wanted to explore the dichotomies between strength and fragility, modern reality and fairy tales. At the outset, it was hard to see where the fragility came in, so potent and imposing was the first model out in her jacket pieced together, in the au courant manner, from nubby wool, leather, and goat fur. A second glance, however, revealed that the seams at the back of the blazer's arms were stitched roughly, like sutures.
The Edward Scissorhands motif continued throughout: Sometimes the stitches were taut, revealing just a flash of skin between the curving seams of a pair of narrow pants; other times, Altuzarra took a looser approach, as when knitting together the splices in a stretchy hourglass dress. Even the boots were slashed to reveal the ankle. Belts and buckles, meanwhile, provided another suggestive element. There were shades of S&M in a pencil skirt with straps holding its hip-high slits together. The blood red evening dresses flashing décolletage and thigh weren't for the faint of heart, either.This was just Altuzarra's third collection, but the confidence of his technique and vision would suggest that his newcomer days are over.
Kasia Struss
Mirte Maas
Natasha Poly
Yulia Kharlapanova
Aline Weber
Natasha Poly (closed)
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