Womenswear Show Fall/Winter 2015
Commentary: Watched this livestreaming and was absolutely blown away. The photos alone do not tell the story of those pleats. While a few of the models (in my humble opinion) were hard to watch as several of them cloppingly teetered in a way both frightening & making me think they were far more timid & less fluid than these clothes suggest. The space was gorgeous and the aesthetic interesting, but I’d not go as far as saying complementary. The only pieces not represented in the gallery above were the dresses with a hem of rosettes or placing ribbons more like leather wreaths for dead horses. That theme works remarkably well in the floral versions. Yet you couldn’t miss that they hung like a butcher’s leather apron & had a macabre sentiment. Perhaps that is just my particular misgiving, not that it wasn’t beautiful, in fact I’d respect anyone who wore them, but this is the first time in a McQueen show that something stood out as feeling off in the collection. It felt in line with the overall narrative but presenting a harder edge to the softer chiffon ruching and more maudlin than the rest. Some editing or perhaps even removal was in order, but again they just struck me as maladroit. Maybe my memory isn’t what it was and there IS always one piece that feels off. *shrugs*
Watching it the second time more for tone/balance, the fantasy struck me that it would be nice to have a reboot of the ‘Bram Stoker’s Dracula’ featuring these clothes. The models look like vampiric brides already in the dungeon. The coats would all work phenomenally well in Transylvania or London, the bodice ripping allusions speak to the smoldering sexual tones inherent in a svengali-based love story for the ages. While I won’t make this a habit, watching the show on a day when nothing else seemed right – had me exclaiming “I’d like to live in a world completely created by these clothes” — a testament to my high regard for the continuing work of Sarah Burton at the house of McQueen.
From the description on the YouTube video:
The Spirit of the Rose
Sarah Burton takes the notion of the female form and deconstructs it to discover the darkly romantic woman underneath. Her silhouette grows organically in three dimensions, as strong and natural as a flower. England’s symbol is the rose, a symbol of strength and fragility, forever on the brink of dishevelment. This is a collection steeped in the frayed nature of reality and the beauty of imperfection. She is worked with eaten-away lace, skeletons of dresses, frayed coats and jackets, poetic knits and laddered lace.
Sliced lacquered rose jacquard coats and jackets, pleated leather skirts and dresses, bonded leather rose cloqué tailoring, engineered lace cut out knitted dresses with laddered pleated ruffles, distressed and shredded silk rose cape coats, 3D leather rosette dresses, exploded petal printed organza dresses with frayed edges, slashed organza dresses with 3D rosettes, distressed and shredded embroidered trailing rose dresses.