![]() ![]() ![]() But the red-hot relevance of torso-exposure, and clothes designed to expose slices of naked flesh needs no explanation to new eyes. There are generations that have never heard of bumsters-Alexander McQueen invented that explosive downward shift of pant design in the 1990s. Look two: a revival of McQueen’s bumsters, with a cropped tuxedo jacket cut into sharp points at the front and the rest of it balanced to swing at the back. Besides the decorative narratives, out came clean, sharp tailoring. “That played into it as well: how do you find human contact in the world we live in, in the world of technology?”īut we’re getting away from how her collection looked. Caring about each other.” But against that, she also meant that having open eyes on the world means taking on terrors. Just seeing each other, recognizing each others’ humanity. “Not walking around with your eyes shut, your eyes down. “It’s sort of about seeing things again,” she said. That thought gave her the impetus to begin to grapple with layers of themes that the house of McQueen has always been concerned with: nature and technology, deep history and present fears. “The eye is the most unique symbol of humanity-each one is like a fingerprint each one is completely individual,” she said, explaining the enlarged prints and raffia-fringed images of irises, pupils, and eyelashes embedded in dresses and spilling over a trouser suit. It seemed a symbolic irony that the mechanical eye-in-the-sky-a standard device these days for recording fashion spectacles-must have been surveilling the focus of Sarah Burton’s collection hundreds of feet below. On a sparkling October day in London, a drone was hovering over the splendid Greenwich Naval College, recording the goings-on in a transparent bubble that had landed in the middle of Sir Christopher Wren’s 17th century landmark. ![]()
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