Fashion

British designer Sarah Burton reveals how a vintage wedding gown inspired her hauntingly beautiful spring/summer 2019 collection and how she’s marrying enigmatic elegance with signature Alexander McQueen power

featured-Alexander-McQueen-SS19

Sarah Burton’s spring/summer 2019 collection for Alexander McQueen was an ode to womanhood and its milestones, rituals and rites of passage: “Birth, sisterhood, betrothal, marriage and mourning,” explains the British designer.     

The final show of the penultimate day of Paris Fashion Week, Burton’s creations were set against a rocky landscape of giant boulders, partially plastered with worn posters, with white gravel underfoot crunching under the models’ every step.

True to style, the collection was at once fierce and delicate, deftly employing the house’s characteristic sharp tailoring and haunting elegance to dramatic effect. This season, pagan references, Victorian silhouettes and dense floral embroideries and prints came together in a provocative, but empowering way, highlighting both the strength of women and the importance of vulnerability and emotion. Take the leather pieces—such as the opening look, inspired by a blacksmith’s apron—which were matched with knitted lace dresses: hard and soft in perfect matrimony.

Here, Burton shares a rare insight into of one of her favourite looks of the season and reveals the couture levels of craftsmanship that went into it.

The dress that started it all

A vintage wedding dress sourced from a London antique fair was key to the collection’s narrative. The show notes referenced the idea of long-forgotten treasures—kept in a trousseau, folded with pressed flowers—and heirlooms—clothing embedded with memories and meaning.

The dress, thought to date back to the turn of the century, and was crafted from shredded silk paper taffeta, tulle and lace, delicately ruched and trimmed with Honiton lace.

On the mood board

Burton was inspired by the work of British photographer Julia Margaret Cameron. The Victorian artist’s portraits of women featured on the SS19 mood board, while her atmospheric techniques inspired the approach and design of the Ophelia print which became the basis of the fabric.

Translating the inspiration into a design

To create the Ophelia print, the vintage wedding dress was scanned and overlaid with individual photographs of wild peonies and rambling roses. That image was then digitally engineered, placing special emphasis on symmetry, before being printed onto silk taffeta.

Working with scale and refining the design

The print is so detailed that before the dress takes shape, intricately constructed miniature paper dolls are created. Approximately 30 per cent of the original scale, these mini-maquettes are designed to perfect the trompe l’oeil effect of the print on the bodice, pleats and dress edge. The paper dolls form part of the McQueen archive, too.

On pattern cutting

Some 20 meters of silk taffeta was printed for this one dress, with around 30 individual panels and singular pieces of patterns carefully engineered to perfectly fit the design.

The fitting process

Taking up to three months, the fitting process is exacting work. The intricate creative process begins in London, where silk print trials are pinned and fitted perfectly to the dress toile. Then engineered printed silk taffeta panels are cut, hand sewn and fitted in the Paris atelier ahead of the show.

The finished look on the runway

The silk taffeta corset dress with poet sleeves, portrait neckline and full skirt with side pleating takes to the runway.

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Image: “For I’m to be Queen of the May, Mother”, by Julia Margaret Cameron, 1875 Victoria and Albert Museum, London

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$(window).load(function()
// alert($('body').find('.has-responsive-video').width());

if($(window).width() < 768) $('.reg_wall_v2').width($(window).width()); else $('.reg_wall_v2').width($('.has-responsive-video').width()); )



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