Sarah Burton

Sarah Burton took over as creative director of Alexander McQueen in 2010 following his tragic death. She has succeeded in the task that many thought impossible and had took on the McQueen brand as if he never left. She has injected a feminine softness into the collection that McQueen had never done before, however she has stayed true to his legacy and the Alexander McQueen style is being carried forth.
Since his death she has achieved a lot - including designing Katherine Middleton's wedding gown, winning designer of the year 2011 and winning gown of the year 2011.

Jones, D. (2011). Autumn/Winter 2011. Available: http://www.vogue.co.uk/fashion/autumn-winter-2013. Last accessed 31s March 2013.

Jessica Parker, S. (2012). Sarah Burton’s First Full Collection for Alexander McQueen is a Critical Hit. Available: http://www.interviewmagazine.com/fashion/sarah-burton/ . Last accessed 13th April 2013.

Jones, D. (2010). Alexander McQueen. Available: http://www.vogue.co.uk/fashion/spring-summer-2011/ready-to-wear/alexander-mcqueen. Last accessed 31st March 2013.

Taylor-Wood, S. (2004). 'Meeting the Queen was like falling in love'. Available: http://www.guardian.co.uk/culture/2004/apr/20/guesteditors. Last accessed 31st March 2013.

Comparison between Urban Outfitters and Harvey Nicholls in Bristol Cabot Circus

The aim of the visit to Harvey Nicholls and Urban Outfitters was to see the main difference in terms of the displays. The main things we we focused on was composition, the theme and the material. We then compared to see how they would vary between the two stores and see whether the outcomes would be predictable and reflect the cost of the products in the store as well as be a reflection of the target audience.

Below are three images from the Women's wear section in Urban Outfitters, Bristol, Cabot Circus, store. 

Composition 

• 5 manequins outward facing.
• Creates a circle enabling vision of garments from all angles .
• Full bodied mannequins.
• At entrance to women's section of store so instantly noticeable when entering.
• Placed on platform to add height which would also make more noticeable.
• Fully clothed mannequins.
• Hung by metal stands.
• Includes accessories.
• No heads on mannequins.
• Outward facing.
• Surrounding products displayed on mannequins to entice the viewer to buy or pick up the products.
• Well lit.

Theme

• Urban grunge.
• Young.
• Vintage.
• Winter.
• Knits.
• Autumn/Winter.
• Casual.
• 'Trendy' (displays garments which seem to be very on trend right now and are nothing out of the ordinary). 

Materials

• Polyester.
• Cotton.
• Acrylic.

Below are two images from the Women's wear section in Harvery Nicholls, Cabot Circus, Bristol store.

 

Composition

• Positioned at entrance of womenswear.
• Full body black mannequins with all limbs.
• Includes hands and feet.
• Decorative swirling metal bars.
• Mixture of garments.
• 5 mannequins.
• Front facing.
• A lot of space in surrounding area.
• Extremely well lit.
• Clinical.
• Evenly spaced in a diagonal line.
• Surrounding designer collections.
• Garments on  mannequins not in view.

Themes

• Evening wear and casual wear.
• Sophisticated.
• Smart. 
• Clean cut. 
• Futuristic.
• Decorative.
• Bright colors.
• Pattern.

Materials

• Silk. 
• Seta silk.
• Rich wools such as cashmere.

Overall during the visit I feel that the materials composition and themes all reflected the cost of the garments which would therefore also reflect the target audience. The composition of the displays we similar in someway in that they both displayed 5 mannequins however the feel of the displays were completely different. In Urban Outfitters the displays were busy looking and had a lot of different garments to look at, it was also surrounded by many products. In comparison, Harvey Nicholls was clean cut, simple and more decorative. Personally, I found Harvey Nicholls more aesthetically pleasing that urban outfitters and felt it tried to simply display garments and not take attention away from them in anyway. Urban outfitter was more of a ploy to get you to pick up the products.

The themes also reflected the costing and target audience well, urban outfitters had a very casual feel to it, which is suitable for a younger target audience which would be more likely to shop in there as it is much lower cost than Harvey Nicholls. The theme in Harvey Nicholls displays both casual and evening wear which would be more appropriate to the target audience of a more expensive shop. The clothes were smarter and more elegant which would be more appropriate for an older lady.

Finally, the fabrics also reflected the costing well, urban outfitters used synthetic, easy to use and wash, cheaper fabrics in comparison to the natural fabrics at Harvey Nicholls which are more expensive, more difficult to look after and use, and generally have a nicer finish. 

Bibliography

Websites

ABOUTALEB.B. (2012). Sarah Burton’s First Full Collection for Alexander McQueen is a Critical Hit. Available: http://www.elle.com/news/fashion-style/sarah-burtons-first-full-collection-for-alexander-mcqueen-is-a-critical-hit-7549. Last accessed 1st March 2013.

CAMBER,R,NATHAN.S. (2010). British fashion icon Alexander McQueen commits suicide days after death of his beloved mother. Available: http://www.dailymail.co.uk/news/article-1250249/Alexander-McQueen-commits-suicide.html. Last accessed 1st March 2013.

unknown. Sarah Burton’s First Full Collection for Alexander McQueen is a Critical Hit. Available: http://www.alexandermcqueen.com/alexandermcqueen/experience/about-sarah-burton,en_US,pg.html. Last accessed 1st March 2013.

Milligan,L. (2011). After Lee. Available: http://www.vogue.co.uk/news/2011/12/21/sarah-burton-on-lee-alexander-mcqueen. Last accessed 20th February 2013.

Deeks, S. (2010). Burton For McQueen. Available: http://www.vogue.co.uk/news/2010/05/27/sarah-burton-is-named-new-creative-director-at-alexander-mcqueen. Last accessed 31st March 2013.

Alexander, E. (2010). McQueen's First Lady. Available: http://www.vogue.co.uk/news/2010/09/28/sarah-burton-changes-mcqueen. Last accessed 31s March 2013.

Jones, D. (2011). Autumn/Winter 2011. Available: http://www.vogue.co.uk/fashion/autumn-winter-2013. Last accessed 31s March 2013.

Jessica Parker, S. (2012). Sarah Burton’s First Full Collection for Alexander McQueen is a Critical Hit. Available: http://www.interviewmagazine.com/fashion/sarah-burton/ . Last accessed 13th April 2013.

Jones, D. (2010). Alexander McQueen. Available: http://www.vogue.co.uk/fashion/spring-summer-2011/ready-to-wear/alexander-mcqueen. Last accessed 31st March 2013.

Taylor-Wood, S. (2004). 'Meeting the Queen was like falling in love'. Available: http://www.guardian.co.uk/culture/2004/apr/20/guesteditors. Last accessed 31st March 2013.

Bubble, S. (2011). Alexander McQueen Womenswear A/W11. Available: http://www.dazeddigital.com/fashion/article/9934/1/alexander-mcqueen-womenswear-a-w11. Last accessed 31st March 2013.

Unknown. (2011). Fall/Winter 2011 Ready-To-Wear Paris Alexander McQueen. Available: http://www.vogue.it/en/shows/show/fw-11-12-ready-to-wear/alexander-mcqueen/3. Last accessed 31st March 2013.

Jones, D. (2011). Alexander McQueen Autumn/Winter 2011-12. Available: http://www.vogue.co.uk/fashion/autumn-winter-2011/ready-to-wear/alexander-mcqueen. Last accessed 18th March 2013.

Videos

MODTV. (2011). Alexander McQueen Fall 2011 by Sarah Burton. Available: http://www.youtube.com/watch?v=v5j8XhUfk04. Last accessed 13th April 2013.

McQueen World. (2011). Alexander McQueen Women's Autumn/Winter 2011. Available: http://www.youtube.com/watch?v=Pd75PxUi_UA. Last accessed 13th April 2013.

Channel 4. (2012). McQueen and I. Available: http://www.youtube.com/watch?v=fNK2mKT8n9o. Last accessed 31st March 2013.

Grazia. (2011). Sarah Burton For Alexander McQueen Wins Designer of the Year at The British Fashion Awards I GRAZIA. Available: http://www.youtube.com/watch?v=3TCTJPEqO0k. Last accessed 31st March 2013.

Yukikoandthe. (2012). Alexander McQueen A/W RTW 2002, Supercalifragilisticexpialidocious. Available: http://www.youtube.com/watch?v=fm6mmsL_Xgk. Last accessed 31st March 2013.

Pictures

Unknown . (2011). Unknown . Available: http://ris.fashion.telegraph.co.uk/RichImageService.svc/imagecontent/1/TMG9183601/m/mcqueen-afp_2184562a.jpg. Last accessed 14th April 2013.

Unknown . (2011). Unknown . Available: http://www.bloginity.com/wp-content/uploads/2011/12/Alexander-McQueen-Fall-Winter-2011.jpeg. Last accessed 14th April 2013.

Unknown . (2011). Unknown . Available: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdLnD1JwV-9uo6xB1jXKX4USgpHSj4CKB24F9eI4XT3wi3wNMELw-o3sXxu0y0DWUV1rqtOAocn8srCoFgAEBWFJvcwtoCFEEB_7vWKfeLbcKiEFdgzZuViAuG7XI8M_S4edZKepXJpswe/s1600/mcqueen7.jpg. Last accessed 14th April 2013.

Unknown . (2011). Unknown . Available: http://ris.fashion.telegraph.co.uk/RichImageService.svc/imagecontent/1/TMG9183601/m/mcqueen-afp_2184562a.jpg. Last accessed 14th April 2013.

Unknown . (2011). Unknown . Available: http://ris.fashion.telegraph.co.uk/RichImageService.svc/imagecontent/1/TMG9183601/m/mcqueen-afp_2184562a.jpg. Last accessed 14th April 2013.

Unknown . (2011). Unknown . Available: http://thefashionreporter.com/blog/wp-content/uploads/2011/06/alexander-mcqueen-paris-fw-20111.jpg. Last accessed 14th April 2013.

Books

Davies, H, 2009. Bristish Fashion Designers. London, England: Laurence King Publishing.

Knox, K, 2010. Alexander McQueen Genius of a Generation. London, England: A & C Black Publisher Ltd.

Gleason,k, 2012. Alexander McQueen: Evolution . London, England: Racepoint Publishing .

Bolton. A., and Koda, H., 2011. Alexander McQueen: Savage Beauty . London: Yale University Press.

Journals

Mair, A. Margherita, M. , 2012. Alexander McQueen . Elle Collections_Autumn Winter 2012, pp.116, 117.

Ferrari, P, 2012. Be My Valentino. Vogue , November 2012 pp.202-207.

Bertoloni Meli, D, 2001. Authorship and Teamwork around the Cimento Academy: Mathematics, Anatomy, Experimental Philosophy. Early Science and Medicine, 6 (2), pp.2-6.

Provide A Detailed Critical Analysis of a Cultural Text Alexander McQueen Autumn/Winter 2011-2012

Provide A Detailed Critical Analysis of a Cultural Text

Alexander McQueen Autumn/Winter 2011-2012

The Death of Lee Alexander McQueen was a devastating event for the fashion world. It left the industry reeling. Although McQueen is no longer present-his name has been carried on in the fashion world by Sarah Burton - a designer who had worked with him for over 15 years. The first Alexander McQueen collection by Sarah Burton was hugely anticipated. It was so intriguing that a woman could carry on someone’s work even though they were no longer present. How could a different being with different thoughts, inspirations and opinions carry on his work? Although McQueen was not just ‘someone’, he was a man who had created many foundations for the basis of fashion trends over the past decade and a half, a man who dressed celebrities who are looked at as being fashion icons such as Lady GaGa and a man who had such distinctive characteristics and flare in his work that the world wondered is it possible for Burton to carry all of this on and how would she do it? Would she be able to succeed in the task that many thought impossible?

Alexander McQueen created theatrical performances, art works and fashion garments all in one. He sought not only to dress the women of the world and to compete with the ready-to-wear titans of the industry such as Christian Dior or Yves Saint Laurent but also set out to inspire them to artistic proportions, to open the cage of the commercial confines of fashion and reinvent the role of fashion in today’s society. He was often judged in the press and accused of misogyny due to his designs using, bondage chainmail and minute corsets. These designs were seen to objectify his models in a twisted, dark, sexual manner.  For Instance, his collection ‘Highland Rape’ of spring 1995 caused uproar in the  press, he caused a stir and was capable of shocking like no other British designer had done before. The performance of this collection consisted of women staggering down the catwalk with ripped garments, exposing their bodies and expressing violence and a deep darkness of which evoked emotions of the viewers, like no other British designer had done before. Whether people loved or hated his designs the statements he made and the way he portrayed women in such a disturbing way could not be ignored and it was this that set him on the map and famed the name Alexander McQueen. It was also these reasons that made the task such an intimidating mission to accomplish.

Burton is a seemingly normal and gentle with the stereotypical aspiration of a woman to have a family and become a mother. How could someone with such gentleness and aspiration take over The Lee Alexander McQueen and with it take on his name for her designs when he had such an individual outlook on women which gave his designs such individuality. Burton helped alongside him throughout her career, therefore had deep understanding of the name and his vision. There would’ve been aspects of her in the collections for the previous fourteen years, but would she be capable of carrying on the brand with the same darkness and emotion put into the collections.

Burton was open about not wanting to try to be Lee McQueen or try to take his place. She was fully aware that Lee McQueen’s mind was so different to everyone else’s and that she “could not pretend to be him”. Instead she wanted to stay true to his legacy by pursuing his vision through the “creation of modern, beautifully crafted clothes.” Similar to that of a scientific experiment, fashion is often at it’s best when a team works towards a goal and it often takes the mind of more than one person to create or discover brilliance. A scientific journal often

The first collection Burton completed without McQueen was Autumn/Winter 2011-2012. The venue was La Conciergerie in Paris where Marie Antoinette passed her last days before sh e was taken to the guillotine, this created a sinister, spooky atmosphere which gave a strong reference to Lee McQueen as it was where one of his first Parisian shows was held. The show itself was simplistic which was unlike the style of Alexander McQueen as he created spectacular, unorthodox performances. At the same setting ten years prior, McQueen had models leading wolves on leashes. The show was well lit with ‘ice queens’ walking down the runway at a pace slow enough to absorb the beauty and brilliance of each garment. The theme of the show gave a sense of power of which McQueen was known to have pushed for in his garments. Fur trims gave the animalistic character often seen prior to this collection and aspects of bondage and kinky lace up boots gave reference to the sexual side that often influenced McQueen’s work. The silhouettes of the garments unmistakably reflected that of a McQueen collection by using razor sharp tailoring, corsets and fuller skirts and the historical references included in each piece also were in strong reference to the label. The contrasts between the femininity of the gowns and the masculinity of the bondage like straps created such contrast which also is a distinctive characteristic favoured by the label.

Alexander McQueen was often judged for creating such innovative designs that were often deemed unwearable and Burton seemed to have injected a romantic sensibility into the designs by using softer tones between white and black with hints of Lilac in the colour ways and the elegance of the dresses that we often so harsh before. This toned down the masculinity, leading reviews to deem the collection more wearable than they had been previously. It had been said, “Sarah’s femininity gave the label a new dimension of elegance that is soft and more approachable to people that may not have looked at the clothes and thought that they could wear it.” People also said that they felt like “McQueen was still alive, but progressing.”

Although some people may argue that she isn’t carrying on his name because she is adding part of herself into the designs and adding a softness that was not seen in McQueen’s work, she is staying true to his legacy and herself. She is using key elements of his designs and is sticking to the powerful drama that was present in all his designs. Therefore, she is carrying on his attitude to work and is working toward a similar reaction from the audience - in that it evokes emotion, however, is creating this emotion simply through the visage of garments - rather than the façade of the shows he created to present his designs. Working toward his goals and staying true to his inspirations but combining them with her notions is improving and progressing the label. The rough edges are being refined, as she is able to add emotion into her work that is more relatable to the average person, which McQueen was not necessarily capable of. Lee Alexander McQueen was the designer and the basis of the brand. McQueen was not the brand itself – therefore, when he died the brand did not die with him.

Burton seems to have managed to not only continue Lee Alexander McQueen’s name but has continued his legacy, work and originality. Not only has she continued but has progressed and is progressing the label. Burton had proved this by the collection leading to the designing Katherine Middleton’s wedding dress, winning designer of the year 2011 and a garment from the collection also won dress of the year. She has managed to prove that she is capable of maintaining individuality and characteristics seen in Lee McQueen’s designs and is able to continue his work without trying to mimic or repeat anything he has done before. Burton is the designer and creative director and is working to move a lifetimes worth of work forward and is using her own skill and ability to do this as well as using her experience with McQueen to maintain a consistency of the basis of the label. She made it a success by staying true to herself, after all no one will ever be the same as Lee McQueen.

 

CHI Critically Analyse a Cultural Text Essay Presentation

At Uni we were given a project to design a collection with 6 final designs based upon historical costume. I based mine mainly on the large collar from the pelisse coat from the early 19th century, the tight fitting corsets from the 18th and 19th century, the fitted tailoring from the 40's wartime female, fur from the 50's, and the riding jacket form the 18th century.

Fabric Plus Downend

Today I bought my fabrics for my fabric textile samples from Fabric Plus in Downend, Bristol. The shop was extremely organised with everything being sorted in accordance to colour. This made it extremely easy to find fabrics that matched my colour ways. They also stocked a large amount of natural fabrics in comparison to fabric land which meant I will be able to print onto higher quality fabrics, which will make my fabric samples more realistic as to what would be available on the designer fabric market. Overall, I'd recommend this shop to anyone who is looking to buy fabric, unless of course it's for a fashion garment. In which case go to London where the fabrics and colour will be more on trend.