For fall at Alexander McQueen, Sarah Burton looked back to her childhood holidays spent in Cornwall. But instead of revisiting fashions from the near past, she channeled ancient pagan details and craftsmanship from the area’s rich Celtic history. Like long strings and fringe hung from black leather and velvet body-con dresses – meant to mimic Clootie cloth strips tied to tree branches as an offering to local spirits and goddesses.
Burton mixed such embellishments with more streamlined looks—no doubt to court retail—like turtlenecks and long swingy skirts that picked up subtly on the decorative themes. Hippie, but also kind of tough. This collection also saw a handful of gray and black suits with slightly peaked shoulders that were perfectly tailored and featured an asymmetric undone flap.
A pale banded shearling coat kicked off a series of brocade and jacquard dresses with heavy eyelash embroidery that veered into classic bohemian Valentino territory but in drama and warrior spirit remained firmly in McQueen‘s world.
Raw gemstones suspended in slim cuffs and collar necklaces mirrored the hand-done feel of the unfinished hemlines, as if every gown was made from an old material that has been in the family castle for ages. Black belts cinched every look, a contrast to the light tones that played up the powerful maiden motif.
Whether you have a red carpet event to attend or not, a McQueen finale is always worth the watch. And Burton did not disappoint, serving up a group of sheer gowns each extraordinarily feather embroidered with flora and fauna, celebrating life’s rich tapestry.
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By Nandini D’Souza Wolfe
From: Harper’s BAZAAR US
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