"Rosemary's Baby" is as much a fashionista's dream as it is a cinephile's: '60s shift dresses, little-girl nightgowns, and (of course) Mia Farrow's icon-making Sassoon haircut. But for his runway riff on the film, Joseph Altuzarra eschewed such tired tropes. Instead, he seized on its heroine's kinky, subversive sweetness, for one of his best collections to date.
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The show opened with a series of seersucker skirt suits and dresses in angelic pink gingham, but with thigh-high slits and seams sliced open and held together with ribbon. Things got hotter from there: wispy sweaters with plunging necklines, peekaboo lattice leather skirts and tops, and sheer black negligée dresses. Rosemary's transition from naïf to quintessential-Altuzarra woman ended, however, in an explosion of romantic color and light: with delicate, wispy, crinkled dresses in golds and corals that communicated freedom, power and a confident sensuality.