After 26 years at the house, the designer showed her final collection—one rooted in Lee Alexander McQueen’s quest to “empower women.”
There was no need to read between the lines. The show brought Burton’s point into sharp relief. The room was hung with four of Abakanowicz’s massive textile sculptures—on loan from various museum collections—dense, abstract, and mesmerizing in their form, color, and texture. The clothes radiated womanly abundance: strong, confident, sensual, sexual, and above all, beautiful.
In between Gerber and Campbell were models spanning age, size, shape, and race in looks that telegraphed power and modernity. Even the delicate moments exuded desire and dominance rather than fragility. Burton exalted the female form with pin-sharp tailored jackets that were cut out to reveal sculpted bras or nipped at the waist with corsetry. A slipdress was made from double-layered black chiffon with an open back and a photographic print of a red rose by David Sims.
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