Tag: alexander mcqueen


LONDON – surprisingly, the FW12 menswear collection from alexander mcqueen was presented off runway in this chic little look book. two male models of color were seen outfitted in the collection look book, which boasted a bit of british fashion formality. one aspect which i’ve never understood about the mcqueen menswear label, even when lee mcqueen himself was alive, was the lack of showmanship that was seen. there’s a certain level of creativity that is seen in the womenswear collections that is not seen in their menswear, which i find completely disappointing, one dimensional &  quite frankly, i find it annoying. all annoyances aside, perhaps style experimentation is not the best thing for the menswear market when trying to remain profitable in such a competitive industry. this season, in terms of wearability, the collection is filled with handsome looks that merge new shit with the classics.

the collection seemed to play it safe with a navy, maroon plum & white palette. there was slight experimentation, though nothing to the mcqueen standard, that was seen in the collections dipped plaids & some of the collections use of print. slight use of rose floral embroidery was seen on a few pieces, though nothing in the set was groundbreaking by any means. from my appreciation of the models of color casting, to my nod of wearability, i wouldnt be surprised if the mcqueen label phased out their menswear in the nex few seasons. while i have been impressed by the labels McQ diffusion line, there seems to be a greater creative direction in other mcqueen lines but no focus is being placed on the menswear. going solely off of my own opinion from what is seen as a final result during show season, im hoping that this will somehow shift & there will be a resurgence of men’s design for the british based label. i will be looking for at least a thread of design relativity between this collection & what will be presented for the label’s womenswear collection, though im sure the female take will be turned up by a few notches. [source]


LONDON – it’s funny how things work in high fashion. the market wants to maintain exclusivity with the whole representation of high style & sophistication to follow, but there is also a need to include the middle markets that sit under the high, thus supporting, the upper tiers of the fashion industry. most commonly, when a label gets on & gets in- the objective to further saturate the market is taken. of the alexander mcqueen label; a higher degree of design, theatricality & showmanship has been seen. in the passing of mcqueen himself, i thought there to be a full downshift in creativity; but i was so fucking wrong. reports of sarah burton assuming the role of creative director at the label came fresh off the heels of mcqueen’s passing & doubts were ringing in the ears of fashion spectators. it was almost as if we all held our breath. in a strange twists of fate, the label is seemingly in it’s strongest bout of success yet. with the worldwide spotlight glaringly aimed at the label after burton design the wedding gown of, well, probably the biggest wedding of the millenium- prince william & kate middleton; the label has not once showed any signs of loss, failure to deliver or absent dedication.

in the midst of the role shift, sarah burton has assumed the role impressively & news of another creative director for the mcqueen diffusion line, McQ, had blasted on the fashion headlines around the world. under the direction of burton, pina ferlisi, formely of womenswear label gennara & credited for revamping american retail giant, the gap; was put into place. in ferlisi’s role as director, i had expected her to maintain at a lower level some of what burton had maintained at the labels main line. but in a recurring incident, i was wronged again. admittedly, i had not ever really been impressed by the McQ lines considering that they were subsequently beneath the mcqueen mainline & the diffusion lines advertising & design approach had no fears of remaining on that lower level. created in 2006, the McQ line has been under the direction of ferlisi, whom is directed by burton, since june of 2010 & just this season, i am seeing a radical improvement of quality, concept & design.

the same elements of bondage, medieval garb & royal attire are all represented in the diffusion line for the collection’s pre-fall 2012 set. conceptualized in a much more controlled, commercial form; use of print & mindful attention to textile, hardware & tailoring were seen as cohesion from diffusion to mainline was felt with great ease & unending inspiration. super chic coats, ruffled blouses & belted silhouettes added a stronger sense of connection to burton’s mainline designs both seamlessly & impressively. while consciously avoiding too much showmanship as a commercial collection, the entire collection takes wearable elements & adds that mcqueen magic that many other lines are missing & fuses it to function, style & the everyday consumer. strong collection with very clear direction. the McQ collections are shown off-runway, often presented by look book image & this season, the collection was done in excellent form. while i’ve hated their marketing approach with campaigns, i am hoping that the McQ label can muster up a few more ounces of creativity for their advertising approach to really pack a powerful punch in commercial retail. with the slew of celebrities & fashion wanna-bes flocking to any & everything mcqueen since his passing, much effort is really not needed but it’s nice to see that a juggernaut effort is being taken. hands up to the women of mcqueen- ferlisi & burton for this collection. all around ill.  [source]

kate moss for vogue, september

the level of importance & status symbol that an american vogue cover represents is something very interesting, a paradox of sorts. in the context of fashion & fashion publication, it’s the most anticipated cover of the year. any chick that graces the cover of american vogue is of importance in fashion; as so christened by anna wintour herself. the power of wintour has been greatly documented & at this point is of known existence to those inside & outside of the fashion world. often shot by mario testino, which is the case for the september cover this year; british supermodel kate moss appears for the american fashion bible, outfitted in an alexander mcqueen gown & is poised as the magazine’s headlining feature for her wedding- which happened in july. one aspect i despise of american vogue is the fact that models rarely grace the cover. while i understand completely that the american publication market is heavily saturated with the presence of actresses, i wonder if the ‘hollywood it girl’ phase will ever die down. last year, giesle bundchen graced the cover & with kate appearing this year- it’s obvious that american vogue is making a fashion statement with a predictable edge & even less interesting end result. no shade to gisele or kate, by any means; but shouldn’t american based publications represent american girls & more specifically american female models? while fashion kids around the world have hoped for more models on american vogue covers; it seems as though this fulfills that expectation but poorly. represented by IMG, kate remains one of the most powerful model forces in fashion & to see her grace the cover is no surprise to any of us. with 788 pages, im looking forward to the editorial content of this issue. at the end of the day, vogue leads & others follow; i hope that a model resurgence is on the verge for american vogue because half of the american covers i see, i don’t post here for the simple fact that they infringe on the fashion tip im looking to represent. it’s nice to see these hollywood hoes fall back for once. fashion belongs to the models.

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video: savage beauty, the alexander mcqueen exhibit

and the bride wore mcqueen…

on the eve of royal british modernization, kate middleton wed prince william this morning in london, england. in a refined, timeless gown designed by sarah burton of alexander mcqueen, after much speculation it was almost as if a sigh could be heard ’round the world as fashion spectators & commoners alike were all singing her praises. from designer name drops, rumored involvements to speculated consulting- there could not have been a better match for this royal a wedding. without a single feather in sight, which drew defined line between current high fashion & timeless glamour, to much of the fashion public’s surprise, the dress was not particularly mcqueen identifiable. that said, the gown worn by catherine was stylistically comparable to that of grace kelly; an iconic bride & princess of monaco who also wore a full laced sleeve & cinched waist on her wedding day back in 1956. prince williams reported response to the dress? “you look stunning, babe.” with a team of 60 for embroidery alone; the dress was a sweetheart necklined gown, made with a bodice of french chantillian lace with a full skirt in ivory. the heels worn by kate on her wedding day were also mcqueen, crafted of ivory duchesse satin, with hand-embroidered lace by the royal school of needlework. on designing the era defining gown, burton says, “it has been the experinece of a lifetime, to work with catherine middleton to create her wedding dress, and i have enjoyed every moment of it”; adding, “i am delighted that the dress represents the best of british craftsmanship; alexander mcqueen’s designs are about bringing contrasts together to create startling & beautiful clothes and i hope that by marrying traditional fabrics & lacework, with a modern structure & design we have created a beautiful dress for catherine on her wedding day.” on the final result of her design, burton responded, “catherine looked absolutely stunning today.” the bridal bouquet was designed by shane connolly & draws upon traditions of significance associated with the royal family. constructed of ivory & white satin gazar, the train measures two meters & seventy centimeters. kate’s chief bridesmaid, her sister pippa, was also in mcqueen; wearing a piece from the pre-fall 2011 collection that had a slight draped neckline & capped shoulder. wed in westminster abbey in front of the entire world, courtesy of live stream broadcasts on just about every important news channel in the world; arrivals from the middleton family as well as the royal family were gazed upon as the queen arrived in yellow, a spring palette highlight & phillip treacy hats were seen sprinkled about the cathedral. david & victoria beckham were among the first spotted arrivals as victoria was draped in her own design seen in navy with a custom phillip treacy hat & customized christian louboutin heels. as for david, he wore ralph lauren with a custom made philip tracey top hat- as the couple looked like modern royalty themselves. as the horse drawn carriage left westminster abbey, a new generation & revitalized representation of british royalty began in front of our very eyes. the case of kate middleton is one of fantasmic proportions; in america, we live for the rags to riches story & have invested millions into fairy tales & disney animated flicks, all of which have taken on a realized form, in the form of prince william & now catherine. for many, it’s like seeing a fanatsy happen in front of us. as many have had their own opinions of kate middleton, i see, in my mind; the birth of a new style icon. modern sensibility, keen preference of functionality & subtle glamour with timeless appeal. with heartfelt remembrance, we keep in our hearts the memory of the princess before her, our beloved, princess diana.

the fashion report: seventy-five

lady gaga for i-d

poised to be honored at this years CFDA awards as a fashion icon, lady gaga has made no attempts to go full steam ahead with her intent to conquer the world of pop culture, music & fashion through constant exposure & in your face attitude. shot in this grayscaled image by mariano vivanco, gaga is on a quest to use her new album as a platform for yet another visual transformation, borrowing influence from alexander mcqueen’s SS10 plato’s atlantis collection; which was the platform gaga used to debut her international smash, “bad romance”. in using prosthetics, gaga is knowledgeable in her efforts to adapt bits & pieces from others & apply them to her ‘fame dripped’ persona.  already a developed fashion darling, gaga’s stylish is the creative director of the revived thierry mugler label, which gaga walked & sonically soundtracked in paris for both the labels menswear & womenswear shows. in addition to being heavily involved at mugler, rick genest, the face of mugler menswear, also appears in her “born this way” music video, which is the lead single of her album of the same title. while the most interesting thing about gaga is her habits of constant image hi-jacking, i will say that this cover is stunning & her mcqueen inspiration is well applied. but at which point do celebrities & their labels decide that you’ve surpassed the level of overexposure. from the runway to the charts, on the blogs & front page news. isn’t gaga tiring us as an audience.

imagesource | tfs