McQueen went from amazonian undersea creature to medieval romantics. This collection's medieval influence manifested itself in a romantic and poetic manner. The silhouette has strong reference to last season but it is transformed with a change of fabric and a few twists and turns in the draping. Without the busy print, the silhouette is much more striking and flattering. Though there is still the cinched waist and a flared skirt bottom, this time on a couple pieces it was replaced with an artfully done all-around gathered pleats to create a dramatic hip. Every piece is like a dream, soft, beautiful, worthy to be framed as if it was a painting; it's something that can only come out of the brain of a genius like McQueen himself.
It's hard not to compare this collection with his earlier work, the ones when he closely edges couture like production. The fabric is stunning and it has the power to transport its viewer to a different dimension. You find yourself sucked into his world of whatever that he is trying to convey. Alexander McQueen's work is always about workmanship, drama, fabric, and presentation. Although I think he would've preferred a bigger arena and more intricacy in the presentation, this choice of a quiet "palace-like" room fits the clothes perfectly. After last season's digital storm, it's nice to have this as a final juxtaposition, which is also another virtue of McQueen's legacy.
His friend's and customer will surely buy every single piece from this collection, at least the ones they can get their hands on, and I think the designers has ended his career on quite a high note; he ended it with something that people will remember and admire for ages to come. Can't wait to see these in a museum somewhere, preferably in the Mets.
images via style.comJob well done.
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