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NEW YORK, United States — Joseph Altuzarra knows a good book when he sees one. "Wilder Mann" was a 2012 compilation of French photographer Charles Fréger's extraordinary, bizarre images of traditional costumes from pagan festivals around Europe. In its pages, Altuzarra found pictures of rituals in Basque country, between France and Spain, where his family has roots. That heritage was the start of his Spring collection.
Something so primitive, so ethnic, might seem like the antithesis of the hyper-acute sophistication that Altuzarra has made his signature, but, while it was true today that his silhouette retained its curvy worldliness — the pencil skirts falling to mid-calf, with one slit exposing a generous stretch of gam — he also managed to weave an earthy-humility into his mix, through humble materials and quotidian details used in extravagant ways. The best example was a linen sheath laden with mother-of-pearl buttons. Altuzarra imagined it like a couture dress in the 1960s, the buttons replacing caviar beading, the humble made opulent. It was a lovely idea, even if it was so heavy that to wear it for any length of time would be positively character building.
The buttons cropped up elsewhere, on burlap coats and picking out runic patterns on broderie anglaise dresses, an acknowledgment of the mystical essence of Basque country — Altuzarra talked about the men in "Wilder Mann" wearing broderie anglaise skirts for their ceremonies. But the more accessible — the more immediate — passages of his show were the textured linens, wrinkled like Fortuny pleats. He said he was fascinated by rawness and irregularity, which translated into a relaxed sensuality, a new attitude for the designer, maybe even one that could be construed as commercial. Jackets, unbuttoned, slipping off one shoulder, had an erotic swag, perfect for a summer night when the heat was steam. The colours took their cue from that, shades of spice and sunset, or a deep vegetal green, dip-dyed and hand-painted. They were surprisingly raw and artisanal for this designer, which is perhaps why Altuzarra quickly introduced lush textures of crocodile, to remind us that consummate polish is, in fact, his calling card.
And that offers an irresistible opportunity for a footnote: the shoes were espadrilles, all well and good for a collection inspired by rural ritual. But, this being Altuzarra, they were heeled high. And the ritual they were designed for had nothing to do with Basque backwoods.
