Alexander McQueen S/S 2015
Alexander McQueen S/S 2015
Giant orchid and lily sculptures by the artist Marc Quinn stood in the middle of the square runway at the Alexander McQueen show. Their brilliant white petals, glowing against the all-black stage, set in motion Sarah Burton's stark look at florals this season. Typically a harbinger for romance, these blooms spoke not a word of softness. Burton's take was hard and aggressive, as she pasted their abstract patterns in limited bright red or white splotches across an inky black base of silk taffeta or glossy python skin. The lines of the flared trousers, tunic jackets, trench coats and short skirts were just as sharp; but probably would not have seemed quite so confining were it not for the models' faces that were clamped by black patent leather straps, with their legs also bound by leather lacings. Asian-inflected bondage was certainly on Burton's mind this season, but the best looks in this show took a softer stance on this tough girl image: we fell for the pink and white petal pouf skirts that were as bushy and beautiful as a cherry blossom tree.
Photography: Jason Lloyd-Evans
Giant orchid and lily sculptures by the artist Marc Quinn stood in the middle of the square runway at the Alexander McQueen show. Their brilliant white petals, glowing against the all-black stage, set in motion Sarah Burton's stark look at florals this season. Typically a harbinger for romance, these blooms spoke not a word of softness. Burton's take was hard and aggressive, as she pasted their abstract patterns in limited bright red or white splotches across an inky black base of silk taffeta or glossy python skin. The lines of the flared trousers, tunic jackets, trench coats and short skirts were just as sharp; but probably would not have seemed quite so confining were it not for the models' faces that were clamped by black patent leather straps, with their legs also bound by leather lacings. Asian-inflected bondage was certainly on Burton's mind this season, but the best looks in this show took a softer stance on this tough girl image: we fell for the pink and white petal pouf skirts that were as bushy and beautiful as a cherry blossom tree.
Photography: Jason Lloyd-Evans
Giant orchid and lily sculptures by the artist Marc Quinn stood in the middle of the square runway at the Alexander McQueen show. Their brilliant white petals, glowing against the all-black stage, set in motion Sarah Burton's stark look at florals this season. Typically a harbinger for romance, these blooms spoke not a word of softness. Burton's take was hard and aggressive, as she pasted their abstract patterns in limited bright red or white splotches across an inky black base of silk taffeta or glossy python skin. The lines of the flared trousers, tunic jackets, trench coats and short skirts were just as sharp; but probably would not have seemed quite so confining were it not for the models' faces that were clamped by black patent leather straps, with their legs also bound by leather lacings. Asian-inflected bondage was certainly on Burton's mind this season, but the best looks in this show took a softer stance on this tough girl image: we fell for the pink and white petal pouf skirts that were as bushy and beautiful as a cherry blossom tree.
Photography: Jason Lloyd-Evans
Giant orchid and lily sculptures by the artist Marc Quinn stood in the middle of the square runway at the Alexander McQueen show. Their brilliant white petals, glowing against the all-black stage, set in motion Sarah Burton's stark look at florals this season. Typically a harbinger for romance, these blooms spoke not a word of softness. Burton's take was hard and aggressive, as she pasted their abstract patterns in limited bright red or white splotches across an inky black base of silk taffeta or glossy python skin. The lines of the flared trousers, tunic jackets, trench coats and short skirts were just as sharp; but probably would not have seemed quite so confining were it not for the models' faces that were clamped by black patent leather straps, with their legs also bound by leather lacings. Asian-inflected bondage was certainly on Burton's mind this season, but the best looks in this show took a softer stance on this tough girl image: we fell for the pink and white petal pouf skirts that were as bushy and beautiful as a cherry blossom tree.
Photography: Jason Lloyd-Evans
Giant orchid and lily sculptures by the artist Marc Quinn stood in the middle of the square runway at the Alexander McQueen show. Their brilliant white petals, glowing against the all-black stage, set in motion Sarah Burton's stark look at florals this season. Typically a harbinger for romance, these blooms spoke not a word of softness. Burton's take was hard and aggressive, as she pasted their abstract patterns in limited bright red or white splotches across an inky black base of silk taffeta or glossy python skin. The lines of the flared trousers, tunic jackets, trench coats and short skirts were just as sharp; but probably would not have seemed quite so confining were it not for the models' faces that were clamped by black patent leather straps, with their legs also bound by leather lacings. Asian-inflected bondage was certainly on Burton's mind this season, but the best looks in this show took a softer stance on this tough girl image: we fell for the pink and white petal pouf skirts that were as bushy and beautiful as a cherry blossom tree.
Photography: Jason Lloyd-Evans