An Ode to Sarah Burton

I’ve always looked good in red. It suits me. Red nails, red lips, red scarves, and red dresses. It always has been and always will be kryptonite and strength— bright and brilliant confidence.

So as you may imagine, the Alexander McQueen Women’s Spring Summer 2018 Collection just about knocked the wind out of me. An exciting variation of English garden party couture, the collection, including trench coats, frilly multi-lengthed dresses, geometrically stunning suits, florals, and slips, would’ve dazzled me even if it wasn’t graced with gorgeous highlights of bright reds and pinks. But for that reason, among others, I’m floored.

Sarah Burton’s surplus of creative genius and her stellar leadership of the treasured brand is doubted by none. Her talent, modest demeanor, and influence amaze me, and the products of it like this collection, restore my love— like real, butterflies-in-the-stomach, painful-heart-ache-because-I-can’t-afford-any-of-it love— and ultimate admiration for fashion. The descension of the fabric, in the two dresses pictured above, down the model’s silhouette combined with delicate accents like black belts and thick jeweled necklaces establish an aesthetic which resonates in the very heart of my soul— a feeling I struggle to put in words.

Part of the genius I admire about this collection is the diversity, and juxtaposition, of different fabrics. The red leather with pink folded sleeves, sheer spaghetti strap slip, and the gorgeous sweater overlaying a checkered petticoat all beautifully complicate one another, making the pieces interesting while still maintaining the powerful all-red color scheme. All the models wear their hair slicked down, strands falling in the middle down their faces, as if to look like they came out of a down-pour in someone’s backyard garden. The unique presence makes me feel reminiscent of the scene from The Great Gatsby film where Daisy and Gatsby encounter one another for the first time in ages, sopping wet in the garden at Nick’s house, hair and clothing stuck to their bodies like glue. This tortured-aristocrat inventive only adds, in my opinion, to the uniqueness of the show and nuance of the collection in totality.

The show itself, taking place in Paris, was set on a tan-tiled runway, with gorgeous white wedding canopies covering the models with floral embroidered drapes. Inspired by Burton’s hometown in the North of England, the simple, elegant gazebos makes it seem as if the runway itself was merely in the backyard of a grand English estate. However, the boldness—  and simultaneous delicacy—  of the clothing suggests that this wardrobe would belong in the closets, or on the bodies, of elite socialites or icons. According to Vogue, “British aristocrats will wear their country clothes till they fall apart and store away ball gowns, wedding dresses, bed linens, and other textiles in trunks for generations”— explaining the ripped and cultured look of some of the McQueen pieces.

Overall…  I think it’s time for me to go to a garden party.

I feel obligated to explain further, given the title of this article, my deep devotion to Sarah Burton-- if not, in part, obviously because of this stunning collection. Taking on the legacy of anyone is daunting; taking on the legacy of Alexander McQueen is nearly insurmountable. As a long-time lover of fashion, and a recent connoisseur of designer fashion, I am only now starting to build my profile of who I like and who I don’t like— and which designers I will carry with me in my heart as all-time favorites.

But I will tell you, this designer, who created this dress, will always be one of them.