"},"content":{"rendered":"And yet, everything augured well for Se\u00e1n McGirr<\/strong>, who declared his reverence for the work of the man who, more than a designer, took tailoring in fashion to an unprecedented level, as well as having digested numerous elements from the House’s archives, including The Birds<\/strong> – the founder’s fifth fashion show (Spring-Summer 1995).<\/strong><\/p>\n <\/p>\n However, in the opinion of Alexander McQueen’s earliest fans, there’s something wrong with this treatment of the gothic<\/strong>, to the point of creating an image that’s too smooth to be credible<\/strong>, and where some might even see a sign of the financialization of luxury and its interest in offering a show that’s “all things to all people” and therefore largely watered down.<\/p>\n <\/p>\n <\/p>\n For Steve Salter, Content & Brand Strategist, the main criticism is this neo Alexander McQueen’s disregard for the art of tailoring<\/strong>, “My biggest criticism of this first collection is the naivety of the execution. Although severe, I compare it to a graduation collection and have to question the studio team beyond its 35-year-old creative director.”<\/p>\n <\/p>\n In this way, Se\u00e1n McGirr\u00a0gives the impression of missing out on this singular, oppressive universe halfway between the laborious world of Charles Dickens and the darkness of an Edgar Allan Poe.<\/strong> Morbid grotesqueness seems to be one of the few links of filiation. The revival of the skull motif<\/strong> seems to have been emptied of the symbolism of memento mori (awareness of the finitude of existence, ed. note) and reduced to a simple marketing argument designed to be “transgressive” with the younger generation.<\/p>\n \t\t![\"\"](\"https:\/\/luxus-plus.com\/wp-content\/uploads\/2024\/03\/mcqueen-FW-fashion-show-1-683x1024.jpg\")
Ode to native Ireland<\/h2>\n\n<\/p>\n