McQueen's Grand Finale Collection
Artworks were captured digitally and transferred onto
red, gold and silver outfits embellished with embroideries.
The abstractions of Bosch paintings
red, gold and silver outfits embellished with embroideries.
The abstractions of Bosch paintings
on the bodice of a dropped-waist dress.
Folds of double duchesse satin,
in a short dress extravagantly swagged at the hip.
The hand-painted gold feathers
visible under the draped skirt of a one-shouldered dress.
Digitally printed with part of Stefan Lochner’s Altarpiece
visible under the draped skirt of a one-shouldered dress.
Digitally printed with part of Stefan Lochner’s Altarpiece
A long sleeved floor-length dress in a pearl-like shade,
digitally printed with the lightest suggestion
of 17th century Dutch wood carvings.
of 17th century Dutch wood carvings.
Prints of angels decorated the wing-like folds and pleats
that jutted out of a cropped jacket.
A silk gown with cap sleeves
and a saintly image on each side of the V-shaped neckline.
Wing-like folds on the back of an ethereal sleeveless gown.
The bodice displays angels with their hands raised.
A sculpted neckline that arched above the collarbones.
Stiff cartridge pleats.
A high-collared, formfitting cutaway jacket
made entirely from golden feathers.
A multilayered white tulle skirt sprinkled at the hem
with delicate gilded embroidery.
The lacquered gold feathers was probably
a nod to Grinling Gibbons' wood carvings.
Lacquered feathers Jeweled-tone bib necklace Gold sequins
Byzantine gold embroideries British royal heritage of lions
A crimson cape, cut away to reveal the dress beneath,
seemed to echo how, in Botticelli's Annunciation,
Mary is pushing open her blue cape to reveal a red dress beneath.
A long,cardinal-like cape over a column dress,
bristling with gold sequins.
bristling with gold sequins.
Even a non-printed dress was fit for a Virgin from Van Eyck.
A regal, full-sleeved gown in cream duchesse satin and silk chiffon,
worked with gold thread.