A homage: Alexander McQueen Spring 2001 RTW collection

One of the late, great fashion designer's most iconic shows.

The bastard child of Peter Weiss’ play Marat/Sade, a power-dressing city wardrobe and the witchcraft aesthetic of Shakespeare’s Macbeth, the show was momentous from start to finish. Set in a starkly illuminated cube – which immediately became apparent as the holding cell of a mental asylum – bandage-clad models moved awkwardly around the space, their backs arched and arms flinching demonically as they peered out through one-way mirrored glass. With such an immediate shock effect it would be easy to gloss over the clothes, but to do that would be a tragedy.


The collection itself was spectacular; a mix of confident suits, easy separates and breathtaking dresses that would be perfect for a decadent ball or to shimmy down the red carpet. It was all about texture and embellishment in the most surreal of ways. A statuesque Erin O’Connor was swathed neck to toe in nothing but washing line pegs, while another model glared out at the audience; a headpiece of birds of prey circling above her head casting ominous shadows. Cascades of silvery mussel shells adorned skirts, a medieval castle rose dramatically from a shoulder and a top dripped with crumbling jigsaw pieces, exposing nothing but bare flesh behind. Feathers too were a major theme, bustling under skirts, cocooning necks and jutting out of trouser seams, becoming more extravagant and gratuitous near the end of the show with a giant Cinderella-shaped ballgown of plumes of feathers in jet and blood red.


Yet within this spectacle there were bounds of beautifully tailored, wearable pieces. In a palette of dusky pink, duck egg blue, stone, soft lilac, and chestnut we saw chic, oversized blazers, slim waistcoats, sleeveless shirts, pencil skirts and floor skimming suit trousers that created a modern, feminine silhouette. Androgynous touches – ties, wide-leg trousers – were off set with floral embroidery and garlands of appliqué flowers that looped and twisted upon tops like a helter-skelter, while halterneck cotton dresses stood out as perfect summer attire. Of course, some pieces were inevitably distorted in Alexander McQueen’s signature way – a blazer was worn as a skirt and a pair of trousers was smeared with paint rendering them and ugly and ruined – but predominantly they were chic, functional pieces for the confident, modern woman. Ordinary made extraordinary to breathtaking results.

Here are some highlights...

Alex in Wonderland

Exquisite. Extraordinary. Breathtakingly beautiful. As Dolly Jones from British Vogue puts it: "A moment of poignancy that it is difficult to put into words.". Alexander McQueen's A/W 2010-10 Paris show. 15 spellbinding looks. Each piece as unique as he. Here it is in it's entirety:

[Images: Catwalking.com, Christopher Moore Limited]

Sonya Rykiel A/W

Bold colours, kooky tailoring and voluminous ruffles were the name of the game at Sonya Rykiel’s A/W show. Alice bands with pom poms – reminiscent of preened topiary bushes – bobbed upon heads, the figures underneath cocooned in chunky knit dresses, oh-so-cosy cashmere coats and sheer, body-skimming silk dresses in electric blue, scarlet, ochre, black and blush. There were plenty more quirky touches to come. A stripy, knitted full-body suit was teamed with aviator goggle style glasses and a top hat, while ridiculously puffy dresses that looked like marshmallows bounced happily down the catwalk – the models clearly enjoying themselves and providing an effect that was infections. The accessories too only added to this charming, eccentric English aesthetic. Gorgeously tactile fluffy totes, retro-inspired leather belts, cosy woolly tights and daring platform heels – with the ubiquitous platform wooden sole that next season is all over – striding the looks down in style.

[Images: tfs]

Bora Aksu A/W 2010/11

Although inspired by folklore, fairytales and fantasy, there was nothing elusive about Bora Aksu’s Autumn/Winter ’10 collection. Romantic and haunting, the catwalk flowed with an enchanting array of his signature texture-laden creations. Futuristic dresses with full hips gave way to structured shouldered blazers, billowing trouser suits and underwired tops in a swathe of textures.

There was detail and architectural interest everywhere you looked. Flirty mini dresses were adorned with delicate bow necks, ruffled shoulders, exposed zips, cut-out holes and giant pockets – one dress even had a voluminous pocket puffed out the front made from complimenting satin fabric. Woollen rope twisted and looped its way around dresses made of soft gauze – perhaps alluding to deadened roots creeping up to constrict their prey – while delicate capes and lightweight blouses bounced in the air. It was a collection of contrasts, which became even more evident when the sweetest pieces – such as the raspberry sweetheart neckline prom dress – were paired with buckled, punk-luxe leggings in tough black.

The palette was just as interesting. In muted tones of lilac, rose, oyster, mahogany and jet he gave an eerie twist to Spring/Summer’s love affair with sorbet shades, while metallic shocks of gold – in the form of lame trouser suits and puffball mini dresses – punched through with alarming force. All in all, a fairytale fantasy.

[Images: Zimbio]

Lustre

Alexander Wang A/W '10

It's a whole lotta cut outs and twists.

[Dazed Digital, photographer: Morgan O'Donovan]

Front row

Alexa and Tavi front row at Chanel... How cool are those platform clogs?!

Spaced

Who says you can't mix futuristic shapes with vintage sensibilities? Not Jean Paul Gaultier, that’s for sure. I love the juxtoposition of the silver, geometric body-con with full-bodied natural wool from his Autumn/Winter 2009-10 Haute Couture show. Aces! ♥

[Images: Tfs, Alice's wardrobe wonderland]

Bugged out

In the spirit of Halloween (OK, so I’m a few days late but blame the flu) I thought I’d just highlight how god damn fabulous Giles’ Bug-tastic S/S ’10 fashion collection was! Smattered with ghoulish insects, slinky metallic structures and a neon palette of lime green, tangerine and purples, it was a playful, schizophrenic mix of the swinging sixties – graphic prints, teeny-tiny mini dresses, retro sunglasses – futuristic sci-fi – Star Wars bodices and lashings of silver – and prehistoric dinosaurs – worn in the guise of soft, cuddly handbags and cartoonish tees. On paper, it really shouldn’t work. But it does! The oversized spider t-shirt is to die for. Worn with a leather mini or tied in a knot with a pair of high-waisted skinny jeans… Gimme, gimme, gimme!

[All images from www.coutorture.com]