McQueen; 'She is a night creature inhabiting a charmed and Surreal world'

There are three things I thought when I watched Alexander McQueen's Fall 2016 show:

feminine

mystical

transformation  

I actually really liked this collection although it doesn't scream 'dark' McQueen I think it still captures a strand of Gothic, albeit in a lighter, almost hopeful tone.  

Sarah Burton was notably expecting her third child as this collection walked, and I think the themes of birth-rebirth-transformation are really evident here.  The coat (first image below) literally cocoons the model as she walks, and although the texture of her outer-garment drowns her frame, the cascading 'tail' of a much more form-fitting dress reveals a glimpse of what lies beneath.  The coat then becomes almost an enactment of a much darker prompt, not look at, but rather look beneath...

Above are just some a handful of my favourite looks from this collection - in case you want to check it out for yourselves! 

I really like the how skin feels like it has been manipulated throughout this collection, from the wholly sheer looks that overlay the skin with intricate designs and use the model as a true canvas.   The many cut-away patterns expose and conceal the skin in deliberate lines; literally the models are spliced and transformed like their garments.  

The collection also featured embellishments of unicorns, moths, owls, swans, eyes and mirrors.  Darkly feminine, it is not a stretch to feel the 'witchy' nature possessing these clothes; these women are adorned in symbols of nature and beauty.  These images are at times set upon 'powerful' cuts of impeccably tailored suits, corsets, even bondage-inspired adornments, that provide a nice contrast to other softer lingerie looks within the show- whilst also providing notable nods to McQueen's most infamous designs.

Personally if witches, darkness, transformation and the battle between inside/outside (or surface/depth) isn't Gothic enough then you might not have liked this collection, but I personally think that the Gothic as a 'style' in terms of fashion doesn't have to be overtly threatening or uneasy - I think this collection is more 'Gothicised' by its consumption of itself.  This collection draws the eye continually to the surface, to the excessive embellishment, whilst revealing LOTS underneath - unease almost comes from the shape of the fabric, swallowing, draping, cutting, consuming the model.  The fact it's based on ethereal women in the night with moths and the moon (paraphrasing majorly here) is just a dark bonus!

***

I found it coincidental that last week I received a copy of the latest ASOS magazine with 'Making Magic' upon the front cover.  Upon closer inspection this edition also provided an article on 'Modern Magic' which detailed how the mystical is becoming more mainstream, and 'crystals are cool'.   Furthermore you could read how to 'max your moon power' and discover the benefits of making a vision bard (which I actually quite liked the idea of being a massive Pinterest fan and a serial mood boarder- I've never really thought to make a 'vision' board!).  

So, you can take this post as celebration of the apparent cosmic alignment of all things Witchy this Spring.  Go forth and wear beautiful clothes and make happy visions - maybe even buy a cat? 

Gothenburg

I've recently returned from a trip to Gothenburg, Sweden (a place I fell in love with) and I've got many more posts on the way now I'm home!

First I just wanted to share some of the cool things we stumbled across, and prove that traces of the Gothic unexpectedly everywhere... 

*evil villain laugh*

First up is some 'cliff art' of Death and the Maiden (because that's totally a thing over there) because romance is not dead.  Speaking of romance, there are many vintage clothes stores in Gothenburg, one of which I found a rail of lace and satin ballgowns which looked like Sleeping Beauty's wardrobe.  I died and went to Disney heaven.

We also found a Steampunk bar which was full of old brass trinkets, clocks and cogs, weird sepia photographs, and victoriana armchairs.  There was a big iron spiral staircase in the centre which was horrible to try and manoeuvre whilst carrying cocktails.  The cocktails themselves had THE best names: 'elixir of mystery' and 'the dark forest' were our favourites.  I've never had a steaming, frothing drink before but I'm now left with bitter disappointment that all my beverages aren't as sassy. 

Slottsskogen is a giant Park just south of the centre that was so vast that we were pretty surprised when we turned a corner and discovered seals, moose and baby deer.  Whilst not overtly Gothic I think just the sheer size of this place with its dark watery ponds, partially frozen and eerily glassy, meant we did feel quite in the wilderness at times and very far from the city.  We felt the same visiting the Southern archipelago.  Some of the islands had no inhabitants at all so you're just wandering around a ghost town with little wooden fishing shacks.  It was incredibly quiet and unlike anywhere we've been before.  We looked out over the water and you can see fish rising and splashing in the distance- which did nothing for my fear of the water, knowing I'd be getting a boat back with the sea monsters beneath me! 

Basically, I loved Gothenburg.  It was beautiful and quirky and not at all what I expected, I even found a Kawaii shop! 

Sweden, till next time...

Fairy Tale Fashion

Once upon a time (in another reality) I had enough money to whizz over to New York for this Exhibition at the Fashion Institute of Technology (January 15 – April 16, 2016).

When I was younger I used to sit and look through my Ladybird copy of The Little Mermaid for hours.  Tim Walker's 2013 interpretation for W Magazine capture the Little Mermaid's transformative journey through scales to skin perfectly, whilst using fabric anchor his mermaid somewhere between human and creature.

By far the allure of fairy tales for me was always the villain(ess) - Maleficent was always my favourite.  The 'dark ones' also always wear the best costumes, there's something in the excess of their characters that translates to such rich costumes be it embellishment or through outrageous shaping (Maleficent's speciality- especially in the headwear department). 

It seems almost surprising that the most monstrous of fairy tale characters are often so clothed; a Witch's warty skin is as obvious an identifier of her evil as her cloak.  The tentacles of Ursula the Sea-Witch blend seamlessly into the basque upon her upper body.  

Monstrosity has no limits upon Fairy Tale bodies. 

Inspired by this theme, one of the most celebrated designers who truly wove magic into his garments, was Alexander McQueen.  His models are not maidens or monsters; they emerge  on the catwalk somewhere between beauty and beast.  Their stories are as important as the ones in Grimm's tales; be strong, believe in yourself, be different, be wild. 

http://www.fitnyc.edu/museum/exhibitions/fairy-tale-fashion.php