WTF................... I know this is like a Sushi post (sorry buddy) but this shit I just don't understand.
Woman in the iron mask and Cruella de catwalk star in Alexander McQueen's surrealist Paris show
By Laura Craik
Last updated at 10:18 AM on 12th March 2009
It was a defining moment - or rather, a series of defining moments.
Alexander McQueen's triumphant Paris show served up a selection of his greatest hits, looking back into his own archive and casting a fresh light on past glories.
What glories they were, serving as a timely reminder of just how influential a designer he is.
Iron woman: A bejewelled chainmail mask covered the face and body of a model set the tone for a surrealist Alexander McQueen collection in Paris which was greeted with whistles and cheers by the appreciative audience
So many of McQueen's staple looks - thigh boots, corset dresses, bondage straps, goat hair coats - have seeped into the collections of others, albeit in a watered-down way, that it was wonderful to see their originator reclaim them as his own again.
A tall pyre of crushed car parts, wrecked chairs and tin cans served as a centrepoint to the show, round which the models walked in stacked heels that were the highest seen in Paris so far. That's saying something.
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Armed to the houndstooth: A sculptural suit teamed with a Philip Treacy feather hat formed part of a sequence of masterful creations
A series of sculptural suits in black and white houndstooth check opened the show, some with kimono sleeves and others with a high ruffle at the neck.
More...
At times, tops and bottoms were reversed, with trousers reworked into jackets and dresses into coats, so that the clothes looked skewed or deliberately off-kilter.
Enlarge
Hats made of 'found' items including old umbrellas, lampshades and wheels added a surrealist note to the collection
The hats, masterfully constructed by Philip Treacy, added to the surrealist feel, made as they seemed to be out of "found" objects such as a lampshade, a bin lid or an old umbrella.
In such a magpie-like collection, it was no surprise to find a magpie print: a literal rendering of the theme, for those still in the dark about McQueen's intentions.
Enlarge
Eveningwear was spectacular, with vivid reds and dramatic prints, while the models walked on the highest heels seen in Paris so far
In heavy satin jacquard, it adorned a floor-length fishtail gown, in colours reminiscent of an Escher print.
All the prints were remarkable, from a vibrant white and orange harlequin to the garish clown faces appliqued onto a leather frock coat.
But it was the eveningwear - if you can call it that - that most deftly illustrated the vaunting imagination of McQueen.
Enlarge
Enlarge
A gown made entirely of swan feathers was so curvaceous it looked hewn from marble, while elsewhere harlequin prints contrasted with houndstooth
Given a gown made entirely of swan feathers, its shape so curvaceous that it looked hewn from marble, would your first instinct be to wear it, or archive it in a museum? One strapless gown, crafted entirely from tiny hen feathers dip-dyed red and worn with a metal body harness underneath, was remarkable in its intricacy.
In a season so bereft of surprises, the whistles and cheers that rained down on the designer as he took his bows proved just how sorely this level of creativity has been missed.
Enlarge
Enlarge
In such a magpie-like collection, it was no surprise to find a magpie print dress, while right, a hat made from what appears to be a lampshade topped one outfit
Woman in the iron mask and Cruella de catwalk star in Alexander McQueen's surrealist Paris show
By Laura Craik
Last updated at 10:18 AM on 12th March 2009
It was a defining moment - or rather, a series of defining moments.
Alexander McQueen's triumphant Paris show served up a selection of his greatest hits, looking back into his own archive and casting a fresh light on past glories.
What glories they were, serving as a timely reminder of just how influential a designer he is.
So many of McQueen's staple looks - thigh boots, corset dresses, bondage straps, goat hair coats - have seeped into the collections of others, albeit in a watered-down way, that it was wonderful to see their originator reclaim them as his own again.
A tall pyre of crushed car parts, wrecked chairs and tin cans served as a centrepoint to the show, round which the models walked in stacked heels that were the highest seen in Paris so far. That's saying something.
Enlarge
Armed to the houndstooth: A sculptural suit teamed with a Philip Treacy feather hat formed part of a sequence of masterful creations A series of sculptural suits in black and white houndstooth check opened the show, some with kimono sleeves and others with a high ruffle at the neck.
More...
- LIZ JONES: If these clothes are ready to wear, I'll eat my hubcap!
- Forget the models on the catwalk, what really matters at fashion shows is who sits where, says Liz Jones
At times, tops and bottoms were reversed, with trousers reworked into jackets and dresses into coats, so that the clothes looked skewed or deliberately off-kilter.
Enlarge
Hats made of 'found' items including old umbrellas, lampshades and wheels added a surrealist note to the collectionThe hats, masterfully constructed by Philip Treacy, added to the surrealist feel, made as they seemed to be out of "found" objects such as a lampshade, a bin lid or an old umbrella.
In such a magpie-like collection, it was no surprise to find a magpie print: a literal rendering of the theme, for those still in the dark about McQueen's intentions.
Enlarge
Eveningwear was spectacular, with vivid reds and dramatic prints, while the models walked on the highest heels seen in Paris so far
In heavy satin jacquard, it adorned a floor-length fishtail gown, in colours reminiscent of an Escher print.
All the prints were remarkable, from a vibrant white and orange harlequin to the garish clown faces appliqued onto a leather frock coat.
But it was the eveningwear - if you can call it that - that most deftly illustrated the vaunting imagination of McQueen.
Enlarge
Enlarge
A gown made entirely of swan feathers was so curvaceous it looked hewn from marble, while elsewhere harlequin prints contrasted with houndstooth
Given a gown made entirely of swan feathers, its shape so curvaceous that it looked hewn from marble, would your first instinct be to wear it, or archive it in a museum? One strapless gown, crafted entirely from tiny hen feathers dip-dyed red and worn with a metal body harness underneath, was remarkable in its intricacy.
In a season so bereft of surprises, the whistles and cheers that rained down on the designer as he took his bows proved just how sorely this level of creativity has been missed.
Enlarge
Enlarge
In such a magpie-like collection, it was no surprise to find a magpie print dress, while right, a hat made from what appears to be a lampshade topped one outfit
The ones with the huge lips look more like clowns than models. Just watch it become the next big fad. 
