Alexander McQueen’s Menswear 07’ Spring Review
"Women have always had solid pieces in their wardrobes - like a great dress or a great suit that they can wear for special occasions - and I felt that men should have that, too." - Lee “Alexander” McQueen
McQueen’s third spring menswear collection, showcased in the courtyard of the Museo Della Scienza in Milan, personifies romanticism while grasping a new take on minimalistic suiting. The show was entitled “Harlem”, a name that in McQueen’s mind, not only referenced the city in Manhattan New York, but also an anagram of the famous composer behind the acclaimed Fifth Symphony, Gustav Mahler. In 2004, showcasing his first menswear collection, this marked McQueen’s 3rd Spring/Summer Menswear show. This collection is more relaxed and subtle than his two previous SS showcases involving more extravagance and dramatic storytelling. While McQueen remained true to his romantic and classical style, the looks comprised a well-balanced mixture of smart casual and formalwear.
The majority of the thirty-nine looks included classic tailored suits, ranging from slim fit to classic fit. Although more refined than previous collections, McQueen still accomplishes subversiveness with his sophisticated variety of plaids and stripes in hues of rose pinks, blue-greys, and lilac grays. The beauty of combining a range of pattern stripes with a soft and romantic color palette reigns true to McQueen’s design legacy. The most noticeable styling detail of many of the ensembles, unapologetically drawing attention to the neckline, lays the sharp-pointed collars of the button-ups over the double-breasted outerwear pieces. Easy to look over, yet still a luxurious memorable piece, a low cross-draped blouse, left the chest open while subtly being paired with a classic fit trouser of a similar color hue.
Maximizing on the potential variety in what seems to exist as a simple silhouette, the tailored suiting encompasses pattern variations including pincheck, pinstripe, and bengal stripes. Whenever not adhering to the prominent color hues, deep blacks, pure whites, and sandy beiges were featured, showcasing the intrinsic duality of the dark side of drama and romanticism. A floral trim lines the edge of the hem of a lilac-tailored jacket. This look opens a transition in the show that unveils an elegant playfulness in patterns and silhouettes.
It truly wouldn't have been an Alexander McQueen show if there weren't at least a few statement pieces to raise eyebrows. One statement of the show features numerous hues of an X-ray silk scarf securely draped over a floppy hat. Another standout piece came in variants of multiple cardigans and a butterfly-like embellished blazer jacket. These black and gold iridescent pieces featured in the last few looks reminded the audience of why they came to a McQueen show. Compared to previous collections, towards the beginning, it may have been fair to speculate that the route McQueen was taking in these Ready-To-Wear designs was a bit detached from the vision we all knew. Nonetheless, within the twentieth look, it was obvious that McQueen’s mission was to reenvision his profligacy into a form the consumers could translate into their everyday lives.
When we envision Alexander McQueen menswear, precisely sharp, detailed, and innovative tailoring comes to mind. As one of his earlier collections in his return to menswear, the precedent of fine tailoring has not only been set but also transformed the world’s expectations of the ‘Midas of menswear’, a phrase coined to refer to McQueen as the winner of GQ Magazine’s Designer Of The Year in 2004. Creating men's collections bridged the gap between women’s spirited, yet limitless options and men’s wardrobe restrictions, McQueen created the pieces he always wanted to see. Thus, the legacy of the late designer leaves behind not only stellar avant-garde but also timelessness and practicality in wardrobe.