INSPIRATION: The dichotomy between dark fairy tale fantasy, magic, and modern urban life. The designer was inspired by movies like Francis Ford Coppola's "Dracula", Tim Burton's "Edward Scissorhands" and "Batman Returns." It was an homage to the fragility of its frightening characters.
TOP LOOKS: There wasn't weak look, but if we had to name favorites, it would be the opening series of black wool pencil skirt suits with flows of black goat hair at the waist-each suit was tailored to within an inch of it's life and drop dead gorgeous; A fencing jumpsuit suit on Abbey Lee in patchwork black leather, with articulated bra; Draped peach skirt with black top underneath a black goat hair cape; Red velvet plunge-neck long sleeve gown on Anja with ruby crystals sparkling with every strut
ACCESSORIES: Black high heel lace-up boots, separated at the ankle; and red velvet pointy toed evening shoes with wide ankle strap-both by Gianvito Rossi for Altuzarra. Jewelry by Joseph Altuzarra and Gaia Repossi for Altuzarra (chic alert! The young, beautiful, and well born Gaia also did the jewelry for Alexander Wang and is becoming a star in her own right). Silver grey wet eye make-up and slick pony tails.
WHO WAS THERE: It was a dream audience for a young designer with both editrixes-in-chiefs of Vogue and Paris Vogue - Anna Wintour and Carine Roitfeld, respectively, in attendance. Fellow wunderkind designer (and San Francisco native), Alexander Wang, rushed over from his own show to catch Altuzarra's, and catch up with Roitfeld.
An international set of stylish and leggy young things draped themselves front row, including Lauren Santo Domingo, Caroline Sieber, Coco Brandolini, Julia Restoin Roitfeld, Victoria and Vanessa Traina. Though, Vanessa, a close friend of the designer, who was credited as "Advisor" in the program, walked the show instead of joining her ilk front row.
WHAT WE THOUGHT: This was an important show, and it felt that way even before the girls came down the catwalk. It felt like Paris. The 26-year-old designer (who formerly studied under Riccardo Tisci at Givenchy) has arrived. The opening series of black wool skirt suits, spliced with flows of black fur, looked as though they were straight off the back of Carine Roitfeld herself.
After the sharp suiting, Altuzarra segued into leather: high-collar riding jackets, jumpsuits, lean skinny pants, all molded to the girls' bodies, often laced and corseted with a black elastic cord for a more dramatic fit. Another trope was belting, stacks and rows of it--across waists and legs (a snip of an Edward Scissorhands reference here). Things softened up with peachy nude draped dresses and skirts. And in case we thought black was all cool girls really wore, the designer introduced red velvet-fitting the magic theme-long and draped into gowns and suits. The finale was a wizard's hooded cape. Altuzarra, though, didn't need anything so literal, he had already cast a spell over his audience.