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The collection by Alexander McQueen Resort 2017 it’s like; 

” The romance of rural England was combined with sixties silhouettes. ”  

The wild and magical coastal landscapes of the Shetland Islands were the origin of this collection. Their natural beauty has inspired local artisans who have passed their skills down through generations of women for centuries. In particular, gossamer fine Shetland Lace, worn by crofters’ daughters and royalty alike, woven with indigenous flora and fauna–wild heather, clover, poppies and roses; sea birds and underwater creatures both real and mythical – is re – imagined.

The colourful interiors of solitary, deserted houses, faded over time and glimpsed through windows, fishing huts, sea walls, shipwrecks, lost treasure, Celtic paisley and the stoles and shawls sported by Scottish nobility are also referenced. Hand-sewn, patched Taatit rugs, traditionally given as wedding gifts, form the backbone of the story. When families are joined in wedlock, two of these are sewn together to become one precious symbol of unity and love. 

Softly tiered, narrow Shetland inspired lace dresses with delicately frayed edges are woven with the Tree of Life, ocean waves, spider webs, peerie flowers and cockle shell designs and worn with intricately worked leather harnesses edged with rows of jingling bells.  

More dresses are panelled, both oversized and worn close to the body, constructed out of patches of richly-coloured Fairisle knit. This is deconstructed further, pieced and patched with hand crochet or enhanced with tiny metal rings. Fine leather jackets are pieced and embellished with shipwreck rose embroideries. 

Voluminous dresses in handkerchief weight cotton voile are printed with bright blue thistle buds or delicately trailing florals and gathered to the torso with fine leather harnesses. The floral designs behind the embroidered leather, chain stitched leather and beaded lace panels are inspired by Sarah’s collection of antique fabrics, pieced together to form cutaway leather frock coats and corsets or jeans. This process is a nod to the Shetland Islands’ spirit of community and kinship. 

Celtic checks, originally worn by resident clans come in the form of sharp tailoring with wild rose and thistle threadwork and black jet leaf embroideries lending a proud, graphic and masculine edge. True to the Savile Row tradition that lies at the heart of the house of Alexander McQueen, strong-shouldered jackets, kilts and kickback trousers are slashed and panelled with lace. Languid ankle-length dresses in skeletal tulle are embroidered with Scottish wild flowers. They are also engineered in a Celtic paisley and feature a fitted sleeve with a puffed shoulder. A tangle of fishnet knits and embroideries constructed from strings of jet is draped into a tunic top and corseted dress with unravelling fringing….


The collection becomes increasingly elaborate, culminating in a sequence of romantic tulle dresses etched with sea creatures in black beaded embroidery. The final looks are a pair of shredded tulle dresses with cascading strings of jet beading, depicting a shipwreck scene of crashing waves in silver sequins, engulfed by the call of the sea.

The new collection Alexander McQueen made everyone not only to closely scrutinize amazing floral motifs, which became one of the “chips” collection, but also to guess what it is?

Sarah Burton quickly dispelled intrigue: seemingly prints flowers were hand – painted by the finest leather and colourful embroidery on sheer fabric evening gowns. And even lace were the product of high – tech! What to say about crocheted dresses, literally woven from flowers and leaves. 

The second focus of this collection, which is closely intertwined spirit of England and the era of the ’60s, was the cell that adorned coats, cocoon coats and trapeze, free cut jackets, jackets with cape and jackets with a peplum.  


Both Sixties silhouettes and the romance of rural England, with its miles of wildflowers and brightly painted gypsy caravans, played a big role in Sarah Burton’s richly rendered collection.  

The latter emerged in the lineup’s powerful artis anal element, ranging from the over size, hand-painted enamel buttons on a cocoon-shaped tweed and lambskin coat to the black leather dresses adorned with embroidered and hand – painted ruffles.

A long and sheer white tulle dress, fit for a glamorous ghost, was scattered with coloured sequined flowers, while a crocheted dress had leaf and flower patterns. Both were meant to mimic the simple, unsophisticated decorations on traditional horse – drawn vehicles. 

The Sixties feel came in the form of a tailored houndstooth cape coat with chunky metal buttons and a lineup of tiered cotton trapeze dresses done in broderie anglaise. In some cases, the borders of the open embroidery were edged in black or red, tempering the dresses’ sweetness. Gauzy knit dresses were done in faded crayon colours — red, orange, blue and cream. Some were adorned with layered ruffles, while others had sporty striped bands around the waist.  

Sarah Burton decided to treat leather like it was one of the other main fabrics, hand – painting each flower the line – up features.

The care for each shade, line, petal and miniature is apparent as well as jaw-dropping, and it’s here to impress even those who don’t particularly fancy the fashion house or leather per se.

This is a unique collection! 


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Beata Gliniecka ; Fashion is the love of my life. That's what I'm writing and creating do with passion!

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