Juana Martín looked once again to Málaga, Spain, for her spring couture collection. This time, she recalled the dewy, flower-filled mornings typical of the Andalucian region.
But these picturesque moments immortalized by artists such as Spanish Symbolist painter Julio Romero de Torres failed to translate into a compelling lineup.
An initial graphic direction, with high-waisted trousers paired with an abbreviated bandeau top that ended with a long train or a rectangle cape worn over abbreviated shorts, felt promising.
But Martín stumbled when trying for the sculptural. Pieces carved from rattan webbing felt like unfinished experiments, while sharp square shoulders looked constraining, not empowering.
Meanwhile, dresses that looked like bolts of fabric draped around the body with silver accoutrements sprouting from the navel and crotch were more affected than effortless.
Here and there were examples of her skilled tailoring — and they continue to be handsome, make no mistake — but they were too sparse to elevate an ensemble that spelled costume rather than couture customer.
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