Before the arrival of Bryant Park Tents in the early 1990s, New York designers prepared models in their showrooms, rolling racks and mannequins for the mannequins and manufactured models in the back office. Returning to his own Woolworth Building Headquarters for his last two shows, today’s included, Joseph Altujara has reminded us what American fashion has lost in the last few decades because it has lost the intensity and personality for the spectacle and social media effects Does the business of
Personality with femininity and disregard was talking about Altujara this season. He has gone away from the thematic collection – “He is in Morocco,” or “he is a hechchock heroine” – in favor of something that hits close to the house. As he had described last time, it’s just “too much about the pieces” that he feels “interested in development.”
The risk with this approach is that a seasonal message can begin to spread, but there were specific things and exemplary versions of other ideas that are percolling in the normal environment. For example, the attractive navy cape coat that opens the show is in the latter category. It seems that everyone has a version of a cape coat at this time; The unique of Altuzarra is that it looks like a cape, but is actually manufactured with sleeves, providing it more practical apparel. Meanwhile, a pair of evening fabrics in printed chiffon was made specific by Milan Shawl that wrapped and moved about the shoulders. They can be affected by a red carpet hit in the 1990s – Uma Thurman in Lavender Prada, to be accurate – but they are not something that has been in the air otherwise late, and they had too much feminine.
Altuzarra has created a custom to give books to all its guests, which clips images on pages referring to the collection on the runway. In this season, it was Wuthering HeightsEmily Bronte Classic who is being adapted to a large screen by Emerald Fennal. Some things just have a way to move around.
