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It's only understandable that if the man who's been at the eye of the whirlwind of negotiations about taking up the reins at Yves Saint Laurent might have been thrown into an emotional spin.
As we now know, Alexander McQueen turned down the offer, saying that it was far more important for him to concentrate on his own label. But although his fundamental instincts may be sound, the pain, strain, and self-questioning of recent weeks showed in this collection. McQueen's intention, he said, was to strip away "all theatrics and focus purely on design. Perhaps that's why the show looked like a strange kind of rebirthing. His first model, in flesh-pale slippery jersey from top to toe, looked like an embryonic alien being, stepping with horrible vulnerability from a spacecraft onto a kind of landing pad.
She led out a parade of similarly nude-colored outfits in tweed, double-faced cashmere, leather, jersey, and chiffon, in which McQueen seemed to be trying to summarize the essence of his design identity.
He pared it down to some of his familiar shapes—jumpsuits, molded hourglass coats, nipped-waist suits—all shorn of the elaborate fabrics and embroideries of past seasons. The best of his coats was an ivory swing-skirted shearling, one of the most believably commercial items in the collection.