There are little girls all over the world, tangled in white bedsheets and mummy's lipstick smeared half way across their faces. They look in the mirror and see Kate Middleton. They want to be princesses too; prim and virginal in an ivory gown with delicate chantilly lace sleeves.
Those who adored her last two collections know that Sarah Burton is not just the woman who designed that wedding dress. This is Alexander McQueen and she wants you to remember that.
It might not be all bumsters and skulls but Burton seems to be an extension of her predecessor. Through her, his thoughts are immortal albeit slightly more feminine.
McQueen's models were always subservient and dominated by the concept. With Plato's Atlantis and Highland Rape, art governed all. Under Burton's rule, creativity still reigns but with a woman's touch. Unleashing an army of Gaia inspired godesses Sarah Burton empowered her women. Something felt lighter. She's stepped out of the darkness that McQueen got so lost in.
The designs drew breath from Gaia's overwhelming influence over the elements. She was the primordial earth goddess; mother of all. The designer charged her models with this virtue, by way of soft fabrics and ruffles that rippled like ocean waves or "jellyfish in the sea". The colours were pure and organic with barnacle patterns and earthy textures. Course ruffles looked like flowerbeds, softened by rose-tinted hues, swaying in and out of coral and nude.
As always, the dresses had a dramatic structure but more strategic than artistic. The goddess-like femininity was overpowering through hourglass contours, exaggerated by wide cummerbund waist cinching belts. Severe yet wearable.
"This is a collection about excess," said the designer, "It's an exploration of ideals of beauty at their most extreme. We go to such lengths to adorn ourselves that we almost become our clothes or are taken over by them."
Although endowed with Gaia's earth-shattering power and magnetism, like their muse the models were teased as objects of desire. Under veils, taut leather and see-through layers visible between lace and feathers, it was provocative. Burton pulled sadism from the McQueen box of tricks, but not so disturbing.
Sarah Burton knows how to keep it clean... but perhaps unsuitable for little girls.
Those who adored her last two collections know that Sarah Burton is not just the woman who designed that wedding dress. This is Alexander McQueen and she wants you to remember that.
It might not be all bumsters and skulls but Burton seems to be an extension of her predecessor. Through her, his thoughts are immortal albeit slightly more feminine.
McQueen's models were always subservient and dominated by the concept. With Plato's Atlantis and Highland Rape, art governed all. Under Burton's rule, creativity still reigns but with a woman's touch. Unleashing an army of Gaia inspired godesses Sarah Burton empowered her women. Something felt lighter. She's stepped out of the darkness that McQueen got so lost in.
The designs drew breath from Gaia's overwhelming influence over the elements. She was the primordial earth goddess; mother of all. The designer charged her models with this virtue, by way of soft fabrics and ruffles that rippled like ocean waves or "jellyfish in the sea". The colours were pure and organic with barnacle patterns and earthy textures. Course ruffles looked like flowerbeds, softened by rose-tinted hues, swaying in and out of coral and nude.
As always, the dresses had a dramatic structure but more strategic than artistic. The goddess-like femininity was overpowering through hourglass contours, exaggerated by wide cummerbund waist cinching belts. Severe yet wearable.
"This is a collection about excess," said the designer, "It's an exploration of ideals of beauty at their most extreme. We go to such lengths to adorn ourselves that we almost become our clothes or are taken over by them."
Although endowed with Gaia's earth-shattering power and magnetism, like their muse the models were teased as objects of desire. Under veils, taut leather and see-through layers visible between lace and feathers, it was provocative. Burton pulled sadism from the McQueen box of tricks, but not so disturbing.
Sarah Burton knows how to keep it clean... but perhaps unsuitable for little girls.
she's such a visionary!
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