Currently, I am really into the idea of mixing distressed, unraveling, and deconstructed pieces of clothes mixed with classics and immaculate made things in exquisite fabrics. Unevenly cut t-shirts, unhemmed sweatshirts and unraveling sweaters mixed with soft velvet and suede companions creates an interesting mix, in my opinion. Stores like Zara, H&M, and Topman and online stores like ASOS are places I've been digging into to look for quality pieces that are interesting and not like anything anyone else has.
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Sarah Burton made it known to everyone who asked that this collection was inspired by the Huguenot people, a French Protestant sect that settled in Spitalfields during the late 17th century. The Huguenots were excellent embroiderers, who were fantastic at making silks, making Spitalfields one the greatest silk exporters at that time. According to legend, when they made the pilgrimage to London, many Huguenots only had seeds and bulbs of different florals in their pockets. It is important to understand Sarah Burton's references when dissecting an Alexander McQueen collection, because without it, it could assumed that this collection (or any collection she has headed) as just another stint at Victoriana or an interpretation of the Arts and Crafts movement. However, as excellent as these inspirations are regardless, there is always a much deeper meaning within the exquisite clothes at Alexander McQueen. Firstly, there seems to be an element of fragility and softness in this collection that I feel moves the brand forward because it is something Lee Alexander McQueen had never done. Rather than transforming the women into sea creatures, murderous animals, or mentally insane patients, as Lee McQueen would've done, Sarah Burton manages to show the pure woman in soft makeup and lightly brushed locks and send them down the wooden catwalk in soft wrapped silks, sliced and frayed taffeta, and expert tailoring. This collection is separate from different McQueen collections because there wasn't anything strict about it. No corsetry, no binding with harnesses, only soft clothes with couture-like embroidery. In previous collections like VOSS (Spring/Summer 2001), for example, the clothes were so spectacular and original that many deemed them unwearable. This collection, however, was still spectacular and original but most, if not all, of these clothes are wearable. Fantastic coats that seem organized and deconstructed at the same time, soft dresses and kimonos in dusty pinks and creams, and embroidered denim jackets and distressed jeans are all examples of this. Some of the best pieces included warped coats and jackets that had a decadence of historicism and modernism. There was heavy silver chains over some jackets that were incredible, along with thinner necklaces over dresses that will sell well. In conclusion, this collection was seminal and beautiful with soft beauty and intoxicating historicism.
