McQueen is a young label, but it has a heritage that can compete with the big guys. Orchids splayed across dresses were beautiful, but look again and they resembled exposed innards. The precision of her cut sent garments spiralling around the body, but it never felt overwrought or overworked. That idea was most compelling in the cut – this collection proved that few designers in the world today can tailor like Burton and her ateliers. In Burton’s hands, it vibrated with feeling, a sense of the absolute essential coming through in every line. In some designers’ hands that has wound up feeling anodyne and diluted, a corporate parade of drab suits devoid of meaning. The general ethos has been a paring back, a stripping down – flaying away the frills and furbelows of fashion, cutting down to the vital organs, the heartbeat of shapes. That was all there, in clothing that captured not only the spirit of McQueen’s hard-edged beginnings – the razor-sharp cut that managed to grab attention, and then reshape the form of contemporary fashion in the 1990s – but a mood of now. An analysis of the anatomy of fashion.” She said a mouthful – but she missed that it was also about the anatomy of the Alexander McQueen label, and of her own talent as a designer. Like a dichotomy of what it is to be a woman or a man today. Orchids – muscular orchids, and fragile orchids. Revisiting the structure of garments, and the body, how you construct tailoring, but then tearing it apart and turning it on its head.” She took a deep breath. Almost back to the beginnings of McQueen, where he started, Savile Row. “Anatomy, anatomy of tailoring, anatomy of clothing. ![]() ![]() But she was fighting, with words that came exploding out of her like a stream-of-consciousness reaction to her own creation. Sarah Burton was pinned into a corner, like prey.
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