I bring you photos of exquisite garments to relieve the gloom of January! The second floor of the Alexander McQueen flagship store in Old Bond Street is an exhibition/educational space where you can get right up close (but no touching allowed) to haute couture pieces from the McQueen archives. There are generous glimpses into the inspirations and processes that produce many of the textile works of art, including a video of Judy Halil – head of atelier at McQueen – talking the viewer through the steps of making the AW19 red rose dress.
https://www.alexandermcqueen.com/experience/en/alexander-mcqueen-roses/
There were so many gorgeous dresses and details that it was a huge effort to make the number of photos manageable for a blog post (and I didn’t even photograph all the items on display). To make things more coherent for you and myself I have split Roses into three posts: Coming Up Roses, Flower Power and Tell it to the Bees. I’m mostly keeping wordage to the descriptions given of each piece, as you can see for yourselves how stunning they are.
https://www.alexandermcqueen.com/experience/en/alexander-mcqueen-roses/
There were so many gorgeous dresses and details that it was a huge effort to make the number of photos manageable for a blog post (and I didn’t even photograph all the items on display). To make things more coherent for you and myself I have split Roses into three posts: Coming Up Roses, Flower Power and Tell it to the Bees. I’m mostly keeping wordage to the descriptions given of each piece, as you can see for yourselves how stunning they are.
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‘AW08 The Girl Who Lived In The Tree, Look 39
A draped, overlapping trompe l’oeil petal jacket predates the drapes and folds of the AW19 rose dress. The duchess satin jacket is worn over a silk tulle dress jewelled with glass rubies.’
A draped, overlapping trompe l’oeil petal jacket predates the drapes and folds of the AW19 rose dress. The duchess satin jacket is worn over a silk tulle dress jewelled with glass rubies.’
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‘AW06 Widows Of Culloden, Look 41
A dramatic inspiration behind the AW19 rose dress, the voluminous taffeta shape and pintucked neckline were closely studied and reconfigured.’ Bottom right shown with the black taffeta rose dress it inspired.
A dramatic inspiration behind the AW19 rose dress, the voluminous taffeta shape and pintucked neckline were closely studied and reconfigured.’ Bottom right shown with the black taffeta rose dress it inspired.
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AW19 Pintucked bodice with draped rose petal skirt.
I chose to include this version rather than the Lust Red one because the details came out clearer in photos.
I chose to include this version rather than the Lust Red one because the details came out clearer in photos.
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‘SS07 Sarabande, Look 45
Corseted skirt suit with an exploded neckline and sleeves filled with a mix of fresh roses, hydrangeas and silk organza flowers. Restored with hand-dyed silk organza flowers in delicate hues of lavender, eau de Nil and pale pink, some original dried flowers survive.’
‘SS07 Sarabande, Look 42
Hand-dyed ombre petals trapped under draped fine silk tulle with a chantilly lace scalloped corset in shades of mauve, faded amethyst and tea rose.’
Corseted skirt suit with an exploded neckline and sleeves filled with a mix of fresh roses, hydrangeas and silk organza flowers. Restored with hand-dyed silk organza flowers in delicate hues of lavender, eau de Nil and pale pink, some original dried flowers survive.’
‘SS07 Sarabande, Look 42
Hand-dyed ombre petals trapped under draped fine silk tulle with a chantilly lace scalloped corset in shades of mauve, faded amethyst and tea rose.’
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‘SS07 Sarabande, Look 46
The Sarabande finale dress was a mix of fresh roses, hydrangeas and silk organza flowers. Restored with hand-dyed silk organza flowers in delicate hues of lavender, eau de Nil and pale pink, some original dried flowers survive.’
‘’… the flowers were real, and couldn’t be put on until the last minute… they began to drop as she walked, leaving a trail of flowers behind her… people were gasping…’’ Sarah Burton
The Sarabande finale dress was a mix of fresh roses, hydrangeas and silk organza flowers. Restored with hand-dyed silk organza flowers in delicate hues of lavender, eau de Nil and pale pink, some original dried flowers survive.’
‘’… the flowers were real, and couldn’t be put on until the last minute… they began to drop as she walked, leaving a trail of flowers behind her… people were gasping…’’ Sarah Burton
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AW19
‘We’ve referenced the rose in many collections. To me, it’s the queen of flowers, the most British flower of all, a symbol of femininity… I love the fragility and splendour of it… the idea that it represents birth and rebirth and the whole life cycle… which has beauty as a bud and beauty through its decay [… ]It’s taffeta… The colour is what we call lust red, and we’ve had it for many seasons. It’s an iconic red for us, a really specific red. It’s a very saturated red in a collection that was very grey and black… [Lee] developed this amazing technique… where you stich all the fabric into the pleats, cut away the fabric from behind, and mould it to the body. We used that same technique… I wanted to then rework the skirt […] into the shape of rose petals […] The fabric needed to keep its volume and not be too light or too heavy. Because it’s quite light, the silk taffeta has a memory to it so it could retain the form of the roses…’ Sarah Burton
‘We’ve referenced the rose in many collections. To me, it’s the queen of flowers, the most British flower of all, a symbol of femininity… I love the fragility and splendour of it… the idea that it represents birth and rebirth and the whole life cycle… which has beauty as a bud and beauty through its decay [… ]It’s taffeta… The colour is what we call lust red, and we’ve had it for many seasons. It’s an iconic red for us, a really specific red. It’s a very saturated red in a collection that was very grey and black… [Lee] developed this amazing technique… where you stich all the fabric into the pleats, cut away the fabric from behind, and mould it to the body. We used that same technique… I wanted to then rework the skirt […] into the shape of rose petals […] The fabric needed to keep its volume and not be too light or too heavy. Because it’s quite light, the silk taffeta has a memory to it so it could retain the form of the roses…’ Sarah Burton
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AW19 Black jacket with train and rose. I forgot to photograph the description – but I did photograph the design notes, so it sort of balances out! Souvenir posters of the Sarabande invitation and the Roses experience.
You’re supposed to leave your audience/reader wanting more, so I will! Until part two of this blog post. Perhaps you’ll be inspired to go off on your own voyage of discovery of Alexander McQueen.
https://www.alexandermcqueen.com/experience/en/
https://www.vogue.com/fashion-shows/fall-2019-ready-to-wear/alexander-mcqueen
You’re supposed to leave your audience/reader wanting more, so I will! Until part two of this blog post. Perhaps you’ll be inspired to go off on your own voyage of discovery of Alexander McQueen.
https://www.alexandermcqueen.com/experience/en/
https://www.vogue.com/fashion-shows/fall-2019-ready-to-wear/alexander-mcqueen
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