Alexander McQueen Pre-Fall

How’s “Monastic Modernity” for a focused Fall fashion theme?  For loyal worshipers of the Lee McQueen lineage, it is decidedly decadently.  Upon first glance at Sarah Burton’s Pre-Fall collection for the house, one eagerly anticipates a wintry season wherein the McQueen woman is coated, caped, and Catholic in sartorial semblance.  After turning out a troop of bee-keeping beauties for Spring 2013, Ms. Burton thus offers a covetable new crop of wares, rife as ever with the recognizable resplendence owing to her masterly modus operandi.

The new pre-season appears as a royally romantic tale of cohesive composites comprising austerity of aesthetic as well as boasting a glorious girlishness of emotionality.  Carrying over spring themes of a starkly minimalist color palette with ruffle details on garment hemlines high and low, Burton decked her latest grouping of garments with high-necks, cinched waists, and delicate details that effused Eduardian charm.

One may easily behold in the collection of the late Lee McQueen’s proclivity towards marrying bold yet beautiful all in one skillfully streamlined style.  Burton’s clear reverence for such a penchant readily revealed itself in the drama of full-length capes and refined hourglass silhouettes that spoke showily, whilst clean, crisp collars and tiered bishop sleeves whispered softly with sensual poetic genius—the hallmark of the McQueen legacy.

The designer put forth pristine, priestly permutations of black-and-white as well as gorgeous milky gowns floating ethereally in all their full-length glory.  Such frothy winter whites supplied a sensationally stark contrast to the stately, high-necked cape-and-dress combinations.  Fitted frocks adorned with regal Damask prints danced deliciously alongside trousers, constructed in a perfect, high-waisted flared silhouette, and paired with coats, capes, and shirts, yet worn with a simple gold strand hanging about the neck.  There were shorter numbers as well, charmingly coquettish with their higher hemlines yet retaining every ounce of elegance as the simultaneously dramatic-and-demure counterparts, not to mention a regal robe dripping with drapings of black and claret velvet.

And the footwear?  Let’s just say the thigh-high, black leather stacked-heel boots were of a showy seem; assuredly not for the faint-of-heart, nor were the shorter, even somewhat sweeter ankle versions.  It’s a serious subscription to this religion if one so chooses; yet the whole of it is truly rife for worship.  Fall to thy knees.

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