Lee Alexander McQueen was known for the way he translated artwork into fashion. Every collection he made was done with meticulous detail, and it always told a meaningful story. No other designer compared to him.

When news spread about McQueen’s tragic suicide in February, the entire fashion industry wept for the loss of such an influential and talented designer.

His death led to an uncertainty within the fashion house on whether or not to continue with his label. McQueen had shaped the brand into something so personal that it would be difficult to find someone who could carry on his vision. But in May 2010, Sarah Burton, McQueen’s right-hand lady for the past 15 years, stepped up to the plate and was named creative chief.

‘Ms. Burton is seen as a safe choice to help the brand make the transition from being intimately associated with its founder to having its own identity,’ said The Wall Street Journal’s Christina Passariello.

And so, with all eyes on Burton, she took her debut collection to the runway last Wednesday, making it one of the most anticipated shows of Paris Fashion Week.

The show started out with a white pantsuit, tailored in McQueen’s signature structural fit. However, whereas McQueen would have had strong pagoda shoulders on the tailcoat, Burton created those same shoulders, but cut them at the top to create a more relaxed movement in the fabric. This cutout style resonated throughout the next few looks.

To some, this was just another cut in a design, but it was really more than that. To McQueen’s loyal fans, it was a symbol of positive change — a symbol of uplifting the label from its once dark and twisted vision.

As the show progressed, it was evident that Burton was determined to represent her mentor and close friend’s legacy. Many of McQueen’s traditional styles were incorporated into the collection, such as military fogging details, romantic silhouettes and dramatic prints. But at the same time, a theme of nature was evident as well, with several pieces made of leather cutout leaves, outfits with a flowing horse mane in the back and a dress with beautiful orange monarch butterflies bursting out from the neckline.

The last few pieces of the show explored the dramatic romanticism McQueen loved so much. Several dresses were made of silk organza, looking light as air as they billowed around the models’ feet. Another dress, made of delicate feathers, draped over the runway while being held together by a gold-plated corset made of wheat and cornstalk. The couture dresses at the end were nothing but beautiful craftsmanship.

Overall, Burton’s debut was a major success. Not only did she capture the traditional McQueen, but she also made the collection more wearable and relatable to the consumer.

‘There’s this myth that (Alexander McQueen) is an unwearable house,’ said Burton to Women’s Wear Daily.

Whether that’s a myth or not, Burton’s vision for the brand is certainly moving in the right direction. Through her first collection, she truly proved herself a worthy successor.

McQueen is surely smiling down from the heavens.

Vicki Ho is a senior public relations major. Her column appears every Wednesday, and she can be reached at vho@syr.edu.

Published on October 12, 2010 at 12:00 pm