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Brazil’s New London Pop-Up September 21st, 2012 @ 7:20 PM


McQueen Men Returning Home to London September 12th, 2012 @ 7:19 PM


Roitfeld, Mum and Son, Open in Brazil September 07th, 2012 @ 00:54 AM


Berluti Opens to Big-Time Business in London September 06th, 2012 @ 3:27 PM


Stefano Pilati Back with a Bang at Zegna September 05th, 2012 @ 7:10 PM


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Michel Klein Gains New Backer; Launches Sunglass Collection June 13th, 2012 @ 00:48 AM


Sykes Jettisoned by Aquascutum; Maurer In at Rabanne June 06th, 2012 @ 00:18 AM


Armani Conquers China, Chastises the Pope June 01st, 2012 @ 11:53 AM



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McQueen’s Latest Metamorphosis

Godfrey Deeny
October 03rd, 2012 @ 00:17 AM - Paris

The house of Alexander McQueen returned to its founder's central love, nature and its power to tell us more about ourselves than our complicated careers, in an inventive and rather beautiful view of how women might dress if their objective was to be pure and determinedly themselves.

If this show, on Tuesday, Oct. 2, had any theme it was the industriousness of women; fashion as a liberator, as creative director Sarah Burton celebrated their liberation with a spring 2013 collection that suggested beauty leavened by power and authority.

Bees hummed from speakers for 45 minutes before the show began; a panoramic screen featured them from fertilization through parthenogenesis to metamorphosis. So did the clothes. The show began with honey-colored courtly jackets and honeycombed mesh skirts that echoed insects compound eyes; before the models grew gilded appendages; twisted peplums, saucy negligees peeping out of chiffon tops, and pock-marked mesh thigh boots.

It was all technically brilliant - especially the crinoline corset dresses finished with fur, and prom queen gowns in swirling chiffon, over which embroidered insects swarmed. Plus, no designer this season sent out more inventive jewelry and embellishments - amber and tortoise shell belts, bracelets, stiff corsets all enhanced by crystal bugs.

"I wanted to show feminine beauty, belief and energy," Burton told FWD post show in a backstage noticeably crammed with Anglo-Saxon voices for a major show in Paris.

Moreover, this was beauty in a rather restrained form. For no one in the audience could see a single face of any model, since inverted beehive sieve-shaped hats obscured all their heads.

The clothes were certainly beautiful, yet, apart despite the racy thigh-high boots and off the shoulders gowns, curiously restrained. It's hard to be suggestive when no one can see your face; and the very absence of a visage only served to remind one that certain insects use parthenogenesis, i.e., a female can reproduce without having her eggs fertilized by a male.

In a word, the collection was a testament to Burton's vivid imagination, and her understanding that this house will always stand for an intense link between nature and fashion.

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