Alexander the Great: A Retrospective

Alexander McQueen: A/W 2010-11

The last ready-to-wear collection by Alexander McQueen, shown posthumously in Paris, was always going to be a difficult show to judge. Viewers were all too aware of the difficulty the designer was going through during the making of this ensemble: his mother, to whom he was very close, passed away from cancer just weeks before. McQueen took his own life nine days later. Would the season’s clothes be up to his eccentric but brilliant standard, or would the immense stress he was under affect his work?

There would always be a reluctance to give this show a poor review; who's conscience would be at ease speaking ill of the dead? But of course it was incredible. Although incomplete, 16 pieces were shown to a small group of fashion editors who viewed them in a mournfully atmospheric gilded salon at the Hotel de Clermont Tonnerre. Classical music played in a grand location, suitable for such an exquisite collection.

The previous season from Alexander McQueen was about the evolution of life – the journey of going from sea to land and then inevitably back to sea again. It looked towards the future; there was a plan for the world illustrated through the clothes. This presentation had a theme of life after death, which could be interpreted as a natural progression of the line, but it feels more likely to be an insight into McQueen’s state of mind during the creative process, making it all the more poignant. 

Rich jewel colours of ruby reds and royal blues flowed through the collection, along with intricate lavish gold embroidery, harking back to Tudor dress. Necklines were high and sleeves were long, make up was sparse and the models’ heads were bound, supporting black or gold feather Mohawks. This depersonalisation, along with the cut of the clothes, gave the impression of innocence- nothing showed that didn’t have to. McQueen avoided all distraction from the elaborate details and digital prints of Renaissance art seen on silk bodices, tying in religious connotations. At times, pieces look almost priest-like, particularly a cream floor length chiffon dress with a belted silver and gold embellished robe. 

Some clothes were also angelic. Boots had gold angel wings either side of the ankle, a stunning high-collared coat was made out of thousands of gold feathers. Grey maxi dresses were bordered by almost life-sized saints, their hands stretched out in prayer reaching towards the model’s face. The soles of the varying thigh-high and ankle boots were a gold web of entwining vines and broken skulls with cherubs surrounding them.
Each piece of the collection could proudly have stood alone, yet inextricably linked.

Viewing the images of the private show would be emotive for most, especially as the designer wouldn’t hear the unanimous praise the clothes have since received. Some critics call it his best ever collection. Lee Alexander McQueen will be sorely missed as one of the best in the fashion world. He had a unique perspective on what he saw and created, and this collection is testament to a true artist.