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Inspired by Byzantine Era the Alexander McQueen Fall Winter 2010-2011 Collection. Alexander McQueen Fall Winter 2010-2011. McQueen was preparing a poetic medieval beauty that dealt with religious iconography while recapturing memories of his own past collections.
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Inspired by Byzantine Era the Alexander McQueen Fall Winter 2010-2011 Collection.
Alexander McQueen Fall Winter 2010-2011 • McQueen was preparing a poetic medieval beauty that dealt with religious iconography while recapturing memories of his own past collections. • He had ordered fabric that translated digital photographs of paintings of high-church angels and Bosch demons into hand-loomed jacquards.
“Alexander McQueen’s autumn collection is inspired by Byzantine art, the carvings of Grinling Gibbons, and Old Master paintings and altar pieces including, in particular, works by Jean Fouquet, Sandro Botticelli, Stephan Lochner, Hans Memling, Hugo van der Goes, Jean Hey and Heironymus Bosch…
A pattern of angel wings undulating over her shoulder blades The demons of Hieronymus Bosch were woven into the fabric.
The models’ heads had been bandaged and moulded with leaf or feathered mohicans that were sprayed stiff with gold and black paint. • The models bodies were tightly encased in red or nude fabric that was brought into gentle relief by gold foil embroidery, their short skirts gathered as a curtain encircling their hips.
To a backdrop of classical music, models appeared in expertly embroidered jacquards and vintage brocades, with bullet pleats and stiff drapes playing out their shoulders and hips into medieval proportions. • One stiff skirt was raised on one side to reveal an underskirt of stiffened, individually dyed feathers, another gold frock coat with a raised collar was made entirely of the same feathers, the dress beneath it bursting into a layered tulle skirt, its top layer skimmed with fine gold embroidery.
Perhaps most awe-inspiring of all were grey-on-grey layered chiffon dresses with deep V-necklines on either side of which were sculptural prints of saints with their hands raised giving benediction, their angel wings in subtle print on the back and sides of heavy silk cloaks.
Every piece was exquisite and entirely original; every detail from the jewelled and latticed bodice of a light layered grey chiffon dress to the metallic gold sequins clustered noisily over the skirt of a red duchesse satin robe – was painstakingly precise.
