McQueen’s Garden of Live Flowers

’There’s one other flower in the garden that can move about like you,’ said the Rose…’she has the same awkward shape as you, but she’s redder–and her petals are shorter, I think.’

’Her petals are done up close, almost like a dahlia,’ the Tiger-lily interrupted: ’not tumbled about anyhow, like yours.’

’But that’s not YOUR fault,’ the Rose added kindly: ’you’re beginning to fade, you know–and then one can’t help one’s petals getting a little untidy. I daresay you’ll see her soon. She’s one of the thorny kind.’

“The Garden of Live Flowers,” from Through the Looking Glass by Lewis Carroll

 

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Alexander McQueen, F/W 2012, on a Rothko-inspired background

Sarah Burton continued to command the drama at Alexander McQueen for Fall/Winter 2012, conjuring up a parade of futuristic flowery and feathered flourishes that evoked the best of Lee McQueen’s theatrical tradition while continuing to hone the delicate intricacy of her own touch.

The show began with an angelic space army suited up in metallic visors and neat white jacquard mini dresses with sloping shoulders and little white feather explosions to frame the models’ robotic faces. The perfect execution of these “uniforms” boded well for the rest of the collection, which became progressively more sensational with each garment that walked down the runway.

And when I say the garments walked down the runway, I am only slightly exaggerating, for the dresses were so extravagant, so exuberantly crafted, and so full of personality that they practically needed no humans to wear them.

The final six looks of the show were flora straight out of a Lewis Carroll novel. Spurning any notion of practicality, these dresses transformed their models into walking flowers from another planet, bearing the most perfectly formed petals and gorgeous colors imaginable. And as for practicality, really, if you’re a flower, why would you want to sit down?

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