Here was another transporting and hyper-feminine collection from Sarah Burton for Alexander McQueen. Dreamy gauzy dresses in knits as fine as cobwebs; tuberose flowers hand-painted on leather coats and corsets, and feathered skirts made of ostrich plumes that had been lacquered to give them a brooding aspect. The designer decorated her clothes and accessories with talismans and surreal symbols, including pocket watches, butterflies, horseshoes, lips and eyes.
The show opened with mannish tailored coats with an extra lapel dripping, as if in a Dalí painting, over the shoulder, forming an offbeat sash.
By contrast, the frothy dresses, ruffles spilling off of shoulders or peeling off the body to reveal lace bras and camisoles, were striking in their delicacy. The show climaxed with tulle gowns and capes gleaming with shooting stars or silvery moons — and then two of the most elaborate bed jackets you will ever see, quilted like a duvet and covered with dense floral embroideries.
Slightly moody and dark before, we saw the most beautiful side of Alexander McQueen, portrayed through Sarah Burton’s most personal approach, so far. “I wanted it to be believable, touchable, soft”, she said. And the collection was all of the above. Fresh faced models with tousled hair (natural beauties) showed off a collection filled with the most romantic designs. High collars, corseted bodies and long cuffs gave the looks a Victorian inspired touch. Ruffles, lace, floral embroideries and hand panted roses (even on some wooden clogs) added even more femininity. And then there was this color palette of pale pinks off whites and black. If it wasn’t for the two denim looks that interrupted the dreamy vibe (an attempt perhaps to give the historic appearing collection a modern touch . It was one country inspired collection of Oscar worthy gowns given character by heavy jewelery (body cross chains and chandelier earrings) and the finishing of the dresses, which was slightly off (tattered lace, shredded details, frayed ends). We’re feeling this gentler vibe.
Visually the collection of Aklexander McQueen had a clear message of “a powerful woman”. The models looked like warriors in their leather harness bras and knife-pleated red-and-black, laser-cut kilts that evolved into discount diflucan incredible, fierce feathered gowns evoking African tribal garb. The silver and gold helmets were a modern streamlined take on gladiator headgear.Sarah Burton was not only thinking of gladiators, but also of ladies in the Twenties, and Mondrian and Picasso in the early 20th century.
Bees. That hardworking, matriarchal society where the femaile rules was Sarah Burton’s inpiration for her Alexander McQueen collection ss2013. And because the artful shape of the honeycomb, it opened range of possibilities to create a strict and form-fitting silhouette.
Burton transported the honeycomb shape into jacquards, nets and laces, some embroidered with bees, and used all kinds of iridescent versions of honey, gold and black. She opened with wasp-waist jackets, their peplums constructed for exaggeration over bustiers; thin skirts or pants and boots made from a crystal-studded stretch of netting that ran up the leg. The focus was on the hips. As the collection went on, Burton began to undress and add, putting cages and corsets on the outside as dresses. Eventually these went undercover in eveningwear.
Futurism with softness, looking forward in a positive way. That was what designer Sarah Burton had in mind by creating her fall collection for Alexander McQueen. Burton presented it in a collection that was about lightness wit a core of power: futuristic princesses in “exploded” silhouettes in pristine white or enormous froths of pink feathers, their faces behind sleek visors. This was a story like only the McQueen house can tell and present, it left the commercial collection in the showroom. But that collection will for sure have connections with the show-pieces – same colors, same perfection and elegance.
Although Sarah Burton wanted to celebrate femininity and womanhood with her collection for Alexander McQueen it also brought a strong fetishistic vibe to life. That was because of the strong curbes and (beautifully made) masks. It was pretty and sometimes romanticwith hint of lingerie. There was just one silhouette: a small bodice, tiny waist, tight skirt flounced or godeted at the hem for flirtatious walking.
You need a true British designer to add some rock ‘n roll to the Milan menswear Fashion Week. After days of decent suits, sportswear and pale colors, the Alexander McQueen-collection brought wit, romance and the expressionism of Mick Jagger and David Bowie to the catwalk, although it lacked a bit of McQueens’ own provocative and edgy elements. There were Savile Row jackets in bold black & white checks or peacock shades, as well as the loose trousers in candy red & white stripes or hammered satin. Burton also presented varsity-style jackets in leather and suede, a flame-print evening jacket and a white coat with bold red spray-effect bands.
The Alexander McQueen-collection was an ode to The Ice Queen and her Court. Sarah Burton – who’s talent and character keeps the McQueen-house alive and kicking – gave her heroines a colorless faces and small, metal-covered heads. She build the collection slowly, using white, black and lilac and a very McQueen silhouette. It was molded, strong, and sometimes fitted like a harness. To avoid a too tough and edgy impression Burton tempered it wit hand-made silk and wool tweeds with litlle pieces of mink and fox.
Other beautiful fabrics were checked and studded velvets and organza, and really stunning were two dresses with body’s made entirely from mosaics of broken bone china plates. The evening gowns were just breathtaking.
Nick Knight’s latest fashion film (see below) is a tribute to designer Alexander McQueen. It celebrates his breathtaking imagination and his groundbreaking creations. Singer Björk sang the exclusive soundtrack of the film. During the British Fashion Awards, where McQueen received a posthumous award, the film was shown for the first time.