Superbowl LVIII, the most important sporting event in the United States, took place on the same day that day 3 of NYFW begins. The logistics of the day's spectacle made the maneuvers as complicated as scoring a touchdown on a Pick Six play. Thanks to, or unfortunately because of, Gabriela Hearst's seemingly permanent show space at the Brooklyn Navy Yard, New York's most famous outer district is hot among designer show venues and a source of ire for those whose work It is going from one place to another. (i.e. press, buyers, photographers, models, glam team, etc.)
Sunday's show highlighted these challenging logistics in some cases, with a domino effect of a second Altuzarra show unknowingly creating a situation that caused Jason Wu and Area's show to be on the same time slot. Even if the latter advanced their position, nothing would change the almost impossible trip from Greenpoint to West Chelsea from Wu to Area. Starting the morning with Ulla Johnson's chauffeur-only Powerhouse Arts location before a hearty coffee didn't help the logistics go smoothly either.
Fortunately, some strong fashion moments offset the travel headaches. the 14th On the floor of his lower Manhattan headquarters, Joseph Altuzarra presented his 15th anniversary collection in a refreshing way that focused on the clothes (and not the fuss of VIP guests or an elaborate set/location).
Speaking to FashionNetwork.com after the show, Altuzarra talked about theater, performance and ballet, specifically Isben's “A Doll's House,” Deborah Turbeville's photography, Rudolf Nureyev's dance warm-ups, and even 16th and the 17th-century Italian clowns Harlequin and Pierrot inspired the collection. (If anyone can take clown costumes and make them sophisticated, it's Joseph Altuzarra.)
However, this dramatic idea was developed with the more pragmatic notion of creating wardrobes without offering basic or combination garments.
“I was interested in costume, the idea of clothes and how we dress. If you go into someone's wardrobe, the pieces accumulate over time: the sweater you bought this season, your grandmother's coat or a pair of earrings that you will use.” “Save it for her daughter,” she explained.
Altuzarra said this concept fundamentally changed the approach to creating the collection.
“It's a modern idea to think about building a collection that way; it's less about merchandising and more about a unique piece; that's how people buy; they don't buy the whole story, but they choose great pieces,” he explained. So, for example, the Harlequin print, the Zodiac Constellation print, a shearling jacket or an embroidered synthetic print. The skins were limited items, not signs of a larger product group.
Which isn't to say that Altuzarra didn't bring home some must-have pieces for the season. A luxurious cashmere sports pant, embellished to accentuate the body a little and turned into a gaucho with a warmer hem inspired by the famous Russian ballerina, looked downright cozy and elegant; Ruffled collars and cuffs, in both cashmere and knit, added style, and a long double-breasted coat-style dress with black and white motifs was a style-maker's catnip, especially in the beloved polka dots. While it would be difficult not to find a beloved piece in this collection, Altuzarra said it is not a mandate from the designer. “It's not about giving options for everything and everyone, you propose what you want to offer.”
The Jason Wu Collection show aimed to propose more of its aesthetics and craftsmanship than dressing like a 'perfect princess'. In doing so, Wu also drew attention to the skill of his team and American craftsmanship.
Backstage, a jubilant Wu spoke to FashionNetwork.com and other journalists about the collection's starting point: the fall 2009 collection, shortly after catapulting to global recognition for dressing Michelle Obama.
Taking a cue from the two designers Wu considers his favorites (American designers Geoffrey Beene and Charles James), Wu looked again at the reference collection, which used illustrations by Arthur Rackham as design material.
“The last time I used it as inspiration, it was very pretty. This is my version 2.0. In the fall of 2009, these princess dresses were in storage; they were moth-eaten and I put them back together in a messy way. ; you can quote me on that “he said while describing the process.
The F'd up shape referred to the worn and destroyed elements that Wu notably started playing with last season, this time pushed a little further, bringing the inside of the garments to the outside. Of his favorites, he mentioned a white strapless dress with finished raw edges and asymmetrical layered swoosh details on the bodice, an example of exquisite craftsmanship.
“I didn't have the maturity to do this before, but it's the dress of my dreams; it's the process, the work, and you know what, I don't care what anyone says, we have craftsmanship as good as the Europeans.” ” she said as she asked the assembled press if he 'made it.'
Indeed, the collection combined Wu's penchant for ethereal beauty with the edginess of the harrowing; another red dress challenged this idea, as did fitted looks with a modern, destroyed inside-out look. Sleek knit and jersey wraps, dramatic down-filled opera coats and Wu's skill with sheer embellished fabrics also anchored the collection with retail favorites.
“I love this collection; this is the first time in years that I can actually make the clothes as I always am in meetings; Fashion is a business and sometimes you forget that this is oxygen,” she said of the outing dedicated to the 'personal and dreamers' of him.
Wu also affirmed his commitment to New York. “I'm pro-New York; we have so many unsung heroes,” he said, referring to James and Beene, the latter whose gray flannel has left an impression on Wu.
“These are master's degrees that I studied, I am a fashion nerd and I have been known as a women's brand for more than 15 years, but now I want to show an evolution.
Ulla Johnson also seemed to be undergoing an evolution. In the exhibition notes, a text by Raven Leilani explored the concept of ornament. In particular, one passage says: “It's all about becoming. About getting there and how you adorn yourself when you do it. In adornment, there are possibilities.” For her Fall 2024/2025 collection, Johnson expanded on this particular idea.
Johnson remixed his luxe bohemian vibes with lots of prints and focused on another side of his craft: streamlined knitwear and an exploration of men's tailoring. The latter may also have been a result of the designer releasing menswear styles for the first time; Ulla Johnson's DNA made a perfect transition: sleek leathers, mesh shells and colorful coats, proving that boys weren't afraid of color.
While Johnson's extravagant printed dresses proved to be a mainstay of the collection, delving deeper into the fabrics allowed for monochromatic and color-blocked style gestures. Where restraint was seen in patterns, texture upped the ante; Signature ruffles were explored in new ways on fabrics as unexpected embellishments.
The funky and somewhat uncomfortable retro color palette that has become a brand code felt right at home in the warm copper set with an intricate massive filigree sculpture creating shadow patterns on the rug.
Leather for women was proposed as sensual and non-aggressive in gray blouson styles. A new style of Hobo bag, the Twyla, emphasized the brand's budding accessories business, while pinstripes like a pantsuit or vest and fitted bandeau pants demonstrated that Johnson is evolving who or what the potential of the Ulla Johnson brand.
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