Volume was one of the season’s biggest stories, and Burton told it especially well.
Ivory, ornately embroidered, cinched-waist coats featuring full fluted skirts and smothered with capelets and collars of fur and feathers opened the show, and we knew were off to a fairy-tale beginning.
Some ultra-glam minis made of fur pompoms added a great dose of whimsical glamour. And bright fuchsia, feather-trimmed dresses provided a big pop of joy.
Bergdorf Goodman fashion director Linda Fargo was impressed.
“It’s hard to even put into words the impact that these garments have,” Fargo said. “They almost look like gorgeously shorn poodles.”
“Sarah Burton is such an enormous talent!” Fargo added.
And truly, some of Burton’s creations defied description.
Backstage, I had a close look at a gargantuan, layered, powder-pink feather concoction that reminded me of a beautifully trimmed topiary. That’s the kind of magic that encourages us to see fashion’s possibilities in exciting new ways.
Of course, practicality doesn’t really figure in this equation, but Todd Lynn, the Canadian-born, London-based designer who is good friends with Burton, says what will be presented in the McQueen showroom will have a much more wearable appeal.
“Sarah’s a master of that. She understands the tone of what makes for great runway fare. But she also understands what women want to wear,” Lynn said. “She’ll make all this translate beautifully.”
As for Burton, she was glowing after the show. Still, she’s a reluctant “star” designer: I had my picture taken with her, but she asked that it not be sent into cyberspace. This is one humble artist who prefers that her magnificent work speak for itself.