'Une Histoire Romantique' Alexander McQueen: Spring 2016

Oh my goodness gracious me. What an absolutely wonderful, spellbinding, magical, beautiful Alexander McQueen collection. Creative director, Sarah Burton has really done Mr McQueen proud with a show which was dainty and feminine, with so many historical references and intricate detailing that it took my breath away, as well as a number of fashion editors too, I can imagine. As I tuned onto Vogue Runway to view the said catwalk looks, I did not expect to see such an incredible collection, which as I glanced looked as though it could have been the costume roll call for a historical movie. I fell in love straight away.

The show opened with a variety of sweeping dresses, covered in ruffles, tiered chiffon layers, sheer lace and beautiful embroidery. High neck collars gave a hint towards a Victoriana love affair while the amazing, and I really do mean amazing, level of hand embroidery could easily be carried off as a Haute Couture rather than just a measly ready-to-wear collection. It was romantic and whimsical, with models wearing minimal makeup and their hair tied back in a loose bun; flyaway strands surrounding the face as though they were a modern day Tess of the D'urbevilles, wandering across a lonely hill. Necklaces came softly layered over tiny white crop tops and jackets while the beautiful dusky pinks, neutral beige and off white colours looked so pretty against each; so pure and beautiful as the silk flowed gently in the wind.

For anyone who has looked at previous McQueen collections, then you would have seen some of the similarities between this collection and that of 'The Girl who Lived in a Tree' from a/w 2008. There were Indian influences and similarities between the boxy yet sweeping silhouettes of the clothes. As is usually seen in India and of the time of the British Raj, loose trousers were worn underneath skirts with small jackets on top, embellished sleeveless tops were worn casually with blue jeans which came with multiple rips down the front while the bold red and white jackets were again strikingly similar to the colours in the 2008 show. But this was all purposefully done, of course, and to great success as this was a modern McQueen girl who still carried a sense of intrigue and drama, and a pair of lovely heeled wedge sandals which all the models wore.

A lot of the dresses were sheer, in either black or white which added a sense of mystery and sex appeal while the floral maxi dresses which hung a-symmetrically were so majestic. I keep wanting to use the word beautiful because that is what this collection really was; beautiful. The show ended with some various floral patterns decorated on dresses then came the show stopping feathered skirts, warrior style corsets in monochrome and yards of fabric gathered delicately across the bottom of the dresses. Not only were there longer dresses, but shorter prom styles were also presented adorned in more frills and high necks with large buttons along the middle.

I loved everything about this show, which really did remind me of something the real Lee Alexander McQueen would have created if he was alive today. Burton followed no spring/summer 2016 trends, nor did she try and do something completely different and out there. Instead, it seems she delved into the house archives and her own memory from the years she has spent at McQueen, and delivered a collection which was like a romantic fairy tale. It had Lee Alexander McQueen's name written all over it (quite literally!) and perfectly summed up why this great, English fashion house is such the name it is. Practically perfect in every way.