The one advantage of 2017’s impossibly stormy British summer is that it was good for a gardens—and for Sarah Burton’s Alexander McQueen collection. When she and her rope of weave specialists took a day outing out of London to revisit Great Dixter residence in East Sussex, a flower borders were in fantastic bloom. The photographs of what they saw filled walls in a studio and set Burton off. “It was about Britishness, being in a garden, and a recovering energy of nature,” she said.
Transplanted to Paris, a McQueen account had grown. There were pergolas with canopies draped with festooned flowers and a section runway. The models, with their drenched-in-a-downpour hair, modernized along a garden trail in studded prosaic boots, a throng desirous both by a flowerbeds and a story of an English nation house. Famously, British aristocrats will wear their nation garments compartment they tumble detached and store divided round gowns, marriage dresses, bed linens, and other textiles in trunks for generations. The “House Style” muster during Chatsworth House had also fertilized this collection.
The pleasing formula began with deconstructed, falling-apart raincoats over pinkish sheer stormy dresses. Quilts, eiderdowns, and wallpaper prints desirous patchwork coats. Gardener’s waxed-cotton Barbours became khaki dresses and outside pants. Tailoring picked adult English gentleman’s black-and-white checks and troops tattersall. Decaying marriage dresses were brought down from notional attics and their stays ragged over black trousers.