6.10.11

Underwater MAGIC



I almost didn't want to place these pictures from the Alexander McQueen SS12 collection, because it was not Alexander himself who designed this collection. At first I was a bit sceptic, when Sarah Burton showed her first collection under mcQueens name. I just didn't liked it. Also with the quote of Alexander McQueen in the back of my mind that he would NEVER want anybody to design under his name after his death.

When looking at this SS12 collection I must say that I was taken by the beauty of the garments. It was "just" a runway show, and I know that mcQueen would never have presented his work like that, but all of the sudden I saw it differently. The silhouette of this collection is unmistakably Alexander McQueen. It might not be as strong or without a message, but the collection is there.

Sarah Burton proved at least to me and sorry if i am a bit late with that...that she is an impeccable tailor and has the finest eye for detailing. I really see it different now, and I am actually glad that she is designing for Alexander mcQueen. In this way she keeps at least a little bit of him alive. I see it as an hommage to his work, and I really appreciate her work so much more all of the sudden.

So now all the seriousness is out I can finally tell you about the SS12 collection. Actually I can only quote Tim Blanks. He is such an amazing writer. He describes what only my eyes can capture, but my mind cannot produce the words for,  so why do I even bother. Here he comes: 

"Sara Burton based her collection on the three Gs: Grès for the pleating and draping, Gaudí for the architecture, and Gaia for the sense of all-encompassing oceanic life that infused the clothes, like the outfits composed of coral or shells. Or the incredible engineered matelassé jacquard in a barnacle pattern. Or the silk chiffon in an oyster print, which had been layered, cut into circles, and ribbed (though that hardly even begins to explain the complexity of the result). And if you carried the analogy still further, the black leather appliqué that infected a lace dress could be an oil slick; the Fortuny-pleated organza woven with copper, silver, and gold was like a pirate's buried treasure.

"The details of the clothes were so obsessively conceived and realized, they could have easily sunk the clothes. That did, after all, happen with Lee McQueen now and again. But Burton has already won kudos for her woman's touch, which has literally lifted the collection. The raised waist here was an exaggerated Empire line of ruffles, which undulated as the models walked, "like a jellyfish moves in the sea," said the designer. It was most striking in an apricot baby doll, one of Burton's personal favorites. In the same vein, she compared the movement of a trapeze dress to swimming. Another dress, as pale, ruffled, and fragile as a peignoir, rolled like surf.
But this collection proved how hot-wired into the core of McQueen Burton truly is. The color palette—as translucent as the inside of a shell—had the kind of unambiguous prettiness that McQueen himself might have felt inclined to disrupt in some way. Burton duly injected the glossy black leather—a sinister barracuda slipping through the shoals of shimmer, like the spirit of her erstwhile mentor. She'll never escape him; nor, it seems, does she want to."



"If you can dream it....you can do it"

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