Superbowl LVIII, America’s most important sporting event, occurred the same day NYFW rounds into day 3. The day’s show logistics made maneuvers as tricky as scoring a touchdown with a Pick Six play. Thanks to, or regretfully because of, Gabriela Hearst’s seemingly permanent show space in the Brooklyn Navy Yard, New York’s most famous outer borough is all the rage for designer show venues and a source of rage for those whose job it is to go place to place (i.e. press, buyers, photographers, models, glam team, etc.)
Sunday’s schedule highlighted these challenging logistics in a few instances, with a domino effect of a second show from Altuzarra that unwittingly threw into place a situation that caused Jason Wu’s and Area’s show to be in the same timeslot. Even if the latter moved their slot ahead, nothing would change the next-to-impossible Greenpoint to West Chelsea trek from Wu to Area. Starting the morning with Ulla Johnson’s chauffeur-set-only Powerhouse Arts location before ample coffee also didn’t help for smooth logistics.
Fortunately, some strong fashion moments made up for the travel headaches. On the 14th floor of his lower Manhattan headquarters, Joseph Altuzarra presented his 15th-anniversary collection in a refreshing manner that focused on the clothes (and not on the hullabaloo of VIP guests or an elaborate set/location.)
Speaking to FashionNetwork.com post-show, Altuzarra said theater, performance, and ballet—specifically Isben’s “The Doll House,” Deborah Turbeville’s photography, Rudolf Nureyev’s dance warm-ups, and even 16th and 17th-century Italian clowns Harlequin and Pierrot—inspired the collection. (If anyone can take clown costumes and make them sophisticated, Joseph Altuzarra can.)
However, this drama-grounded idea was developed with the more pragmatic notion of wardrobe building without delivering basic or paired-down pieces.
“I was interested in costume and the idea of clothing and how we dress ourselves. If you walk into someone’s wardrobe, the pieces are collected over time: the sweater you bought this season, your grandmother’s coat, or a pair of earrings you’ll keep for your daughter,” he 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 merchandised and more about a unique piece; that is how people shop; they don’t buy the whole story but pick and choose great pieces,” he explained. Thus, for example, the Harlequin print, the Zodiac Constellation print, a shearling jacket, or embroidered faux fur were limited items, not signals of a larger merch group.
Which isn’t to say Altuzarra didn’t drive home some must-have pieces for the season. A lux cashmere sweat pant, trimmed to accentuate the body a bit and turned gaucho with a legwarmer hem inspired by the famous Russian dancer, looked downright cozy and chic; ruffled collars and cuffs in both cashmere and woven added flair and a double-breasted long coat-style dress and black and white motifs were a style maker’s catnip, especially in beloved polka dots. While one would be hard-pressed not to find a beloved piece in this collection, Altuzarra said it’s not a designer mandate. “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 to his aesthetic and craft than ‘perfect princess’ dressing. In doing so, Wu also drew attention to his team’s skill and American craftsmanship.
Backstage, a jubilant Wu spoke to FashionNetwork.com and other reporters on the collection’s starting point: the Fall 2009 collection, shortly after he catapulted into global recognition for dressing Michelle Obama.
Taking cues from the two designers Wu calls his favorites—American designers Geoffrey Beene and Charles James—Wu looked back at the reference collection, which used Arthur Rackham illustrations as design fodder.
“The last time I used him as inspiration, it was very pretty. This is my 2.0 version. Fall 2009, were these princess dresses in storage; they were moth-eaten, and I put them back together in an F’d up way; you can quote me on that,” he asserted as he described the process.
The F’d up way referred to the distressed, destroyed elements that Wu started playing with noticeably last season, this time pushed a bit further, taking the insides of garments to the outside. Of his favorites, he mentioned a white strapless gown with raw edge finishes and asymmetrical layered swoosh details on the bodice, an example of exquisite craftsmanship.
“I didn’t have the maturity before to do this, 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,” he said while also asking the press gathered if he ‘pulled it off.’
Indeed, the collection blended Wu’s penchant for ethereal beauty with the edginess of the distressing; another red gown challenged this idea, as did tailored looks with a destroyed, inside-out modern look. Smart wrap knit and jersey pieces, dramatic down-filled opera coats, and Wu’s hand at embellished sheer fabrics also grounded the collection with retail faves.
“I love this collection; this is the first time in years that I have gotten to actually make the clothes as I am always in meetings; fashion is a business, and sometimes you forget that this is the oxygen,” he said of the outing dedicated to his ‘staff and dreamers.’
Wu also asserted his commitment to New York. “I am pro-New York; we have so many unsung heroes,” he said referring to James and Beene, the latter whose grey flannel has left an impression on Wu.
“These are masters that I studied, I’m a fashion nerd, and I’m known as a ladylike brand for more than 15 years, but now I want to show an evolution.
Ulla Johnson seemed to be experiencing an evolution, too. In show notes, a text by Raven Leilani explored the concept of adornment. In particular, one passage reads, “All of it is about becoming. About getting there and how you adorn yourself when you do. In adornment, there is possibility.” For her Fall 2024/2025 collection, Johnson expanded on this idea in particular.
Pairing back on her print-heavy luxe Boho vibes, Johnson focused on another side of her craft: streamlined knitwear and an exploration of men’s tailoring. The latter may have also resulted from the designer launching menswear styles for the first time; the Ulla Johnson DNA transitioned seamlessly, natty leathers, mesh shells, and colorful overcoats, which demonstrated zero fear of color for the guys.
While Johnson’s fanciful printed frocks proved to be a mainstay of the collection, going deep on the knits allowed for monochromatic and color block styling gestures. Where restraint was seen in pattern, texture upped the ante; signature ruffles were explored in new ways on the knits as unexpected trims.
The palette of funky, somewhat awkward retro colors that have become a brand code was at home in the warm copper set with an intricate massive filigree sculpture that created shadow patterns on the carpet.
Leather for the ladies was proposed as sensual and not aggressive in grey, blouson styles. A new Hobo bag style, the Twyla, stressed the brand’s budding accessories business, while pinstripes as a pantsuit or a fitted bandeau vest and pants proved Johnson is evolving who or what the Ulla Johnson brand potential is.
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