If God is indeed in the details as the saying goes, then perhaps the detail shots from this collection will further illuminate why, every season, legions of fashion lovers all come to gather (both figuratively and literally) at the altar of Alexander McQueen.
I don’t know if its the oversized scarves or the eclectic suburban-nomad stylings, but Angela Missoni has managed to put together one of the most memorable collections to come out of Milan this season. Whereas the clothes are usually just nice and stay fairly low on my radar, I find myself constantly thinking back to the pieces from this show even as I’m clicking through images of metallic decadence from Dolce or Fendi’s fare of standard sophistication. My to-do list now consists of finding ways to translate this gorgeous palette into my own largely drab and monochromatic wardrobe, and, more importantly, how to relocate to a much colder climate by next September.
Do you honestly expect us to believe that these all came from different collections?
I’ve been lagging a little lately in my spring collections countdown, but working full time and packing for a big weekend trip has filled my plate. Fortunately though, I don’t have to write little descriptions and explain why these last two picks flood the sartorial hemisphere of my brain with pure joy, because they pretty much speak for themselves.
If Alexander McQueen has ever created anything less than spectacular, I have yet to see it. His spring collection was a meditation on sustainability and the effects of industrialization on the modern world. After a steady stream of collections that harkened back to Victorian Romance and Imperialism, he went in entirely different direction with ultra-sleek, ultra-modern, fitted silhouettes and an entire spectrum of crystalline prints, all the while staying so quintessentially true to his creative identity. There was so much to love, from the metallic patterns on his kaleidoscopic gem-like minidresses to the sparkling rhinestone-studded body suits to the ever-present (but much more subdued) skulls and leather corsets, there was so much to be awed by, I’m still taking it all in.
Some people have criticized Kate and Laura Mulleavy for recycling old looks. Admittedly, this collection was largely a continuation from the two previous seasons, but I prefer to see them each as an installment in the Rodarte trilogy of beauty thriving in a harsh, post-apocalyptic world. The three finale dresses, worn by Kasia, Karlie and Jourdan, looked almost like they were painted on with big wide brushstrokes awash with bold splashes of color. This is a pair that knows how to balance charming aesthetics with unique construction.
One of my favorite cartoons when I was a kid was The Jetsons, and I wanted to be just like Judy Jetson, with her outrageous white hair and chic spacegirl outfits. In the future when the ozone layer has been depleted and we’re all zooming around in flying pod-cars, these are the clothes I would want to be wearing. But then again, I would love to be able to wear any of these looks any day, and Louise Goldin is the ingenious British designer who brings all my futuristic fantasies to life. Goldin first grabbed my attention with her vibrant debut Spring 08 collection. Every season since then, there is a special place in my heart that is always prepared to worship whatever she puts on the runway, and her sculptural sci-fi knitwear conceptions satisfy every time.