At every show, Joseph Altuzarra leaves his audience with a book on their seats, which usually speaks to the inspiration behind his work. For Spring/Summer 2024, the choice was Rosemary’s Baby by Ira Levin. But while the cult horror novel may conjure plenty in the imagination, it was actually the 1968 Mia Farrow-led film that Altuzarra was getting at.

And just like the film, the designer put together an elegantly muted collection underpinned by a darker mood than we’re used to seeing from the French-American creative director. Without a graphic print or swishing Bohemian gown in sight, Altuzarra aimed to create clothing that exuded a “haunting, enigmatic allure” that were also “anchored in everyday style and pragmatism.”

But it wasn’t the absence of brights that unsettled, but rather, the intentionally undone details that infused the collection with suspense. Crinkled fabrics, blotted polka dots, unkempt seams, and washed-out neutral tones imparted an ominous appeal to otherwise versatile pieces. A styling highlight was the multitude of looks that cleverly layered pieces to peek out, like lining underneath the hems of pencil skirt sets, coats and nightie-like slip dresses. Suddenly, functional wardrobe items were not as they seemed. Even trapeze-shaped silhouettes appeared as if they had something to hide.

French New Wave cinema inspired the foreboding twist on quotidian garb, and the designer did well to cultivate the same aloof sophistication that lingers on the palette. While we’d be remiss to ignore the likeness to Miuccia Prada’s Fall 2023 shows, Altuzarra still retained his signature in the beautifully constructed gowns peppered throughout the show, only with a more delicate twist.

A sweeping satin coat that brought a vivid pop of scarlet to a camel-toned bubble dress and a handful of tulle veils over soft-Gothic bridal babydoll dresses stood out as particularly fresh. And cameos by all-star models, including Sasha Pivovarova and Hanne Gaby Odiele, were a nice touch.

“This collection embraces the beauty found in the everyday, evoking a sense of rawness and vulnerability,” he wrote in his show notes, adding his admiration for a time when “bold shapes and daring lines redefined the boundaries of style.”