The infamous dressmaker who was once Lee McQueen’s right hand and scion who now continuing his brand’s legacy has journeyed to the ancient isles of the Shetlands in Scotland. Sarah’s team went on exhibition to explore the island’s cultivation from its textiles, the atmosphere, and amongst all the flora and fauna of the great subarctic archipelago. Her team spent days to absorb every inspiration and detail that they can gather, and the collection is absolutely a reflection of the peninsula. Sarah a virtuoso of craftsmanship and the essence of Lee’s great awareness of romanticism has repeatedly graced us with a parade of intricately woven dresses and gowns that are festooned with embroidery and embellishment. Leather harnesses in empire-lined bustiers that can be seen in her past collections has made another encore in this Spring and Summer collection. The sheer craftsmanship and storytelling of the collection was showcased on Knitwear dresses that appears to have multiple rugs that has been sewn together is a delicate homage to the Shetland’s wedding tradition of sewing two rugs together. Each rugs are a representation of a family’s name and house. Sewing them together is a noble epistle of joining two houses together in marriage, lastly Celtic detailing was absolutely present in the collection’s medium for hardware. It’ll never be a Burton collection without the presence of flowers which were brushed through embellishment, lacing and embroidery.
The great British fashion house who broke every single boundary in the industry has sadly settled in a highly monotonous approach after the death of its original master. As long as it delivers a spectacle of wearable pieces it’ll sure be stable, but the supremacy of the McQueen creativity has long been diminished. Sarah without a doubt is a master of her own craft as a dressmaker and she has proven it multiple times especially when she was chosen to design the ever so famous wedding gown of Kate Middleton; the Duchess of Cambridge. It is quite impossible to match the genius of Lee Alexander McQueen but to continually fester the brand with an analogous array of silhouettes and technical agenda is quite blasphemous. Romanticism and Sentimental fantasies are a dominant McQueen aesthetic and so is sedition which the brand has absolutely abandoned. Will it ever return? Sarah surely is quite adamant with her obsessions of refinement and emotionalism. Perhaps it might as well be rightful to rename the brand and strip Lee’s middle name out of the trademark for it is never the same as what it did during it’s golden years. We can never have Lee back again, and its time to accept of what the house has become.