To the eerie and unsettling soundtrack from the film Rosemary’s Baby, designer Joseph Altuzarra produced a signature collection that was equal parts sugar and spice.
For example it doesn’t get much sweeter then pink and baby blue gingham. But in the hands of Altuzarra, that fabric’s girly prettiness was given a jolt of sensuality. Skirts showed up with almost thigh high splits. Long dangling pearl-tipped ribbon bows tied closed the sides of a dress or the collar of a shirt, but honestly were begging to be pulled undone. And button-closure tops and skirts appear on the catwalk unfasten down to the navel or up to the waist, as if the model was caught in flagrante delicto with her lover only moments before stepping out before the audience.
From there the designer added a bit more spice in the form of some leather latticework vests, skirts and tops, that all had a tinge of “caged bird” fetishism to them. This was contrasted with the continued application of pearl embellishments used to outline the floral pattern on pencil skirts or trim the edges of a series of semi-sheer black chiffon ensembles. Any of which it would be easy to imagine the designer’s muse Carine Roitfeld pulling off with aplomb.
The collection finished on a high note when Altuzarra produced a trio of tiered pearl delineated floral maxi-gowns that, with their deep v-neck bodices and fluid skirts found the perfect balance between sweet and sexy. A covetable sartorial combination if ever there was one.