The campaign also features the new Seal handbag, available in a more compact size for Autumn/Winter. In the language of flowers, the orchid is a symbol of love. Extraordinarily beautiful and infinitely adaptable, the orchid mimics both predator and prey. It thrives in the air, resists being rooted and grows in the wild. The most prominent motif in the collection is the orchid, in its rarer forms cultivated but, after the daisy, the most common flower. Garments are dissected: slashed, sliced and twisted. The classic subverted: turned inside out and upside down. The foundations of fashion, cut on the body and inspired by the body within. The Fall collection is an exploration of beauty and power through tailoring and tailoring fabrics and a focus on cut, proportion and silhouette. Alexander McQueen welcomes flocks of powerful women to front the campaign. The McQueen warrior women marched relentlessly on, in sharply tailored frock coats and slim-leg pantsuits gripped by belts jangled with jewels that included tiny silver hip flasks and metal-bound notebooks dresses that resembled leather blankets draped like tartan shawls over fitted cuirass bodices and a finale of fairy-tale “bird’s nest” evening dresses of frothing net and embroidery suggestive of medieval folk tales: powerful romance.The Alexander McQueen Fall 2023 ad campaign, photographed by David Sims, features Naomi Campbell, Elle Fanning, Liu Wen, Eva Green, Yseult, Eliott De Smedt Day, Karolina Spakowski and Momo Ndiaye. The thoughtful collection opened with the sound of birdsong and echoing children’s voices and reverberated with the thud of sturdy boots or flashing knife-steel shoes against the stripped wooden floor. The idea was powerfully suggested in a surprisingly tender 1930s photograph Burton had pinned to her inspiration board, depicting three Welsh miners in their formal Sunday-best suits, with their respective infant children held by blankets wrapped around them and improvised into papooses “so that they had their hands free to work,” as Burton pointed out. The famed Welsh blankets, meanwhile, represented for Burton the idea of “protection and wrapping and caring and kindness” that seems so yearned for in this uncertain age. Elaborately carved from a single piece of wood, these spoons were typically presented to the object of one’s affection, with motifs suggesting love and eternity that Burton worked into impasto guipure lace, stark white on sharply tailored black jackets, and even set dangling from a striking short evening dress of gleaming silver embroidery. Traditional Welsh love spoons caught Burton’s eye too. The Victorian tailor’s startlingly contemporary imagery was reflected in prints and complex intarsia treatments. Taking her cue from this inspirational starting point, she worked on sharp-seamed, graphic tailoring that incorporated upcycled wool flannels from previous McQueen seasons woven in British mills and set in dramatic geometric blocks that suggested flags or heraldic pennants. With its scenes from the Bible and allusions to the Industrial Revolution that was threatening the very idea of handcraft at the time, it is a powerful object, “a narrative of someone’s life,” as Burton said. Fagans National Museum of History in the capital city of Cardiff, the first thing that caught her eye was the Wrexham Tailor’s Quilt, fashioned at night over a 10-year period from 1842 by a tailor using recycled scraps of the woolen cloths he had used to craft the uniforms he made by day. “I feel like you need to be heroic.”īurton’s poetic adventure began with a visit to Wales, the storied Celtic land of myths and creativity. “I wanted this collection to be really grounded, bold, and heroic,” she answered herself. “What do you talk about in a time when there’s so much noise?” queried Sarah Burton during final fittings on the eve of presenting Alexander McQueen fall.
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