Tabalho de produção gráfica by William Ferrari

InVogue 11 - Sarah’s way

Burton tells us everything about style, McQueen and that wedding dress.

Vogue trends 08 - How do you take your pastels? Perk up your wardrobe with the new sugar hues.

Vogue spy 09 - More dash than cash Separates to update and take on the new seasoon.

Vogue for him 18 - The best gifts for him watches, trousers, shirts... SPECIAL men streetstyle. 4

Simone Pimentel Editor ______________________________________________ Art Director William Ferrari Deputy Editor Emily Sheefield Managing Editor Frances Bacon ______________________________________________ Fashion Director Lucinda Chambers Executive Fashion Director Calgary Ananshiro Fashion Editor Francesco Burns Fashion Bookings Editor Rose Vogel Fashion Assistant Maya Zepnic Fashion Coordinator Julia Hobbs Jewellery Editor Carol Watts Merchandising Editor Helen Horrard Contributing Fashion Editors Eryan Metzner, Charlotte Pilcher, Charlotte Stockdale ______________________________________________ Fashion Features Director Harret Quick Fashion Features Writer Sarah Harris Market Editor Epanck Hewitt-Bates Fashion Features Assistant Emma Macalister ______________________________________________ Beauty & Health Director Nicola Molton Beauty &Health Editor Kelly Albout Beauty & Health Associate Jessica Hogan ______________________________________________ Features Director Fionna Golfar Editor-at-large Jo Elisson Junior Features Associate Aimme Farrell ______________________________________________ Deputy Art Director Felix Nurell Associate Art Director Jason Murren Acting Art Director Gunther Spiegel Picture Editor Michael Trow Picture Coordinator Linda Mason-Grey Art Coordinator Adriana Huh Senior Digital Application Designer Cristina Rowell Digital Asset Manager Carolina Vicent von Hogan ______________________________________________ Chief Sub-Editor Janelle Master Deputy Chief Sub-Editor Carla Murray Sub Editor Amy Sollit Action Art Sub-Director Marla Nobel ______________________________________________ Special Effects Sarah Burns Junior Assistant Fionna Apple Editor Coordinator Daisy Hilton Paris Coordinator Carine Roitfeld ______________________________________________ Contributing Editors Celia Marie, Madeline Joster, Armand Paul, Masa Nordloff, Anna Wintour, Veronica Mars.

Editor Vogue.com Conde Nast Copyrights and Publishing

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SARAH’S WAY 11

Burton unveiled her first collection at the helm of McQueen in Paris Lauren Milligan

SARAH BURTON

has admitted that the challenge of taking over from her friend and mentor Alexander McQueen - who she says was “an inspiration every day” - at his eponymous label following his death in February was almost more than she was willing to undertake. “I thought: how would I ever begin to begin? Lee’s mind was so different to anyone else’s,” she tells Harriet Quick in the February issue of Vogue. “I knew there was no way I could pretend to be him; but I had to ask myself, what did Lee work for? For all this just to close down?” Burton unveiled her first collection at the helm of McQueen in Paris in February and was praised for moving the label on without losing McQueen’s spirit - and she insists that the collections will continue in this vein. “People ask: what’s Sarah about? But I’ve worked here for so long, there’s been a big part of me in those collections all along the way,” she said. “I’m not going to wipe the slate clean. That would be wiping me away. There will always be those McQueen elements, but at the same time, you can never stay still and you have to stay true to yourself. That’s what Lee drummed in to me: you have to be able to stand behind your work.” And in another interview with British Vogue, she explains how she had to keep the secret that she was designing Kate Middleton’s wedding dress for months, going so far as to schedule meetings as if everything were normal and she wasn’t working on one of the most significant dresses ever. “Because my core team knew, it was okay for me to disappear and then come back, and then disappear again. But I remember other people asking me, ‘Are you coming in on Friday?’ And I’d say, ‘Oh, yeah, see you in the morning’. I’d be scheduling meetings knowing full well I wasn’t going to be there for them,” she told Vogue . New York’s Metropolitan Museum of Modern Art was hosting an Alexander McQueen retrospective days after the Royal wedding and Burton used that as a cover story when explaining why she kept missing appointments.

Royal vogue designer Sarah Burton’s newest creations sparked a sensation during Paris Fashion Week a few days ago. But an completely various set of figures inspired even greater satisfaction in the Gucci boardroom at the exact same time. In her very first 4 months in cost of the Alexander McQueen label, owned by the Gucci style group, sales and earnings soared. Turnover soared by nearly fifty for each cent to £32million and pre-tax earnings arrived in at £3.7million in contrast with a damage of £56,000 the previous year. Burton was appointed imaginative director in Might previous calendar year, after McQueen’s demise the previous February, and there were predictions that the label, in which Gucci has a greater part stake, may possibly face a economic crisis as she struggled to cope with the job. But she appears to have confounded the doubters and proved the organization’s expectations to have been appropriate

It’s a testimony to her hard work that the British designer of the moment - if not of the generation - had orange-handled scissors in her jeans’ back pocket as she gave a wave of thanks at last night’s Alexander McQueen show at Paris Fashion Week. Not only an indication of her hands-on approach, Sarah Burton’s dressed-down style served to bring the audience back down to earth from a far higher plane - they had just seen the best of the out-of-this-world, magical creativity that aptly sums up the British label. The inspiration behind the frothy, fantastical designs for the autumn/winter 2012 collection was said to be the ‘rippling underbellies of mushrooms’ - and It’s a testimony to her hard work that the British designer of the moment - if not of the generation - had orange-handled scissors in her jeans’ back pocket as she gave a wave of thanks at last night’s Alexander McQueen show at Paris Fashion Week. Not only an indication of her hands-on approach, Sarah Burton’s dressed-down style served to bring the audience back down to earth from a far higher plane - they had just seen the best of the out-of-this-world, magical creativity that aptly sums up the British label. The inspiration behind the frothy, fantastical designs for the autumn/winter 2012 collection was said to be the ‘rippling underbellies of mushrooms’ - and The show’s colour palette looked like it had been taken straight from the muted romance of an AmbrosiusBosshaert still-life - pinks, greyish purple, soft, blushing reds, silvery grey and the blackest, magisterial black. And then there were the shoes - like a scene from A Midsummer’s Night Dream, they brought a touch of the mule to the theatre. Heel-less, buckled, black-andwhite Layer upon layer of fibre interlinked, gathered and dissipated into exquisite, frothing waves - and dresses appeared not unlike fragile reef coral. A pale pink dress was a dream-like anemone beneath the ceiling of glowing, bubbling baubles. 37-year-old Ms Burton’s hard work and daring commitment to champion creativity and imagination above all else paid off. Amidst a front row including Anna Wintour and Salma Hayek, AP reports that Hal Rubenstein, InStyle magazine fashion

Hayek, AP reports that Hal Rubenstein, InStyle magazine fashion While academia was an important part of Ms Burton’s education - she went to a very academically-driven school - her passion had always lay in fashion. But quite how she landed a coveted internship at the design house is beyond her. ‘It’s funny, because I sometimes ask that myself. I think maybe I was quite shy. I wasn’t the trendiest girl at college,’ she explained. ‘I just loved what I was doing. I loved research at the time. I think I was always in the print room working.’

Burton’s hard work and daring commitment to champion creativity and imagination above all else paid off.

Layer upon layer of fibre interlinked, gathered and dissipated into exquisite, frothing waves and dresses appeared not unlike fragile reef coral. A pale pink dress was a dream-like anemone beneath the ceiling of glowing, bubbling baubles. 37-year-old Ms Burton’s hard work and daring commitment to champion creativity and imagination above all else paid off. Amidst a front row including Anna Wintour and Salma

She says that Lee McQueen, whose death in 2010 heralded her taking over the reigns at the design behemoth - ‘did everything’. As a hands-on boss and designer, he was involved with every part of the design process. 2011 undoubtedly meant a vast amount of very hard work for the designer - and competing pressures and responsibilities on an enormous scale. The preparations for the McQueen retrospective

Not that the details of the secret are to be unlocked anytime soon. ‘Um, I mean,’ she said to Sex and the City’s Ms Parker. ‘I’m not actually allowed to talk much about it at all. It was a precious, magical time that I’ll always treasure, and I feel like she gave me a gift in many ways. I feel incredibly privileged.’ The wonderment was tangible at Sarah Burton’s accomplished and vibrantly colored ready-to-wear show for Alexander McQueen. Feather explosions that ballooned in three dimensions spelled awe for spectators. The inspiration for the fall-winter collection presented Tuesday was said to be the “rippling underbellies of

In mushrooms,” but like the house’s spring collection it looked more like a coral reef. The teeming feel to the fibers blown by the movement of walking models painted a scene of anemones and medusas in a sea-palette of ice white, soft blue and crimson. The peplum of one blush pink dress, with a metal pincer belt, recalled the layers of a jellyfish, and the tooth of an octopus. At several points the audience gasped. “It was exhilarating,” said Hal Rubenstein, InStyle magazine fashion director. “With talent like Sarah’s you just sit back and relish the sense of fantasy. No one else has it.” Horse hooves — feathered platforms without heels — and visors reminiscent of horse blinders added danger to the visual repertoire. A voluminous black trapeze coat in Mongolian hair had the heavy, almost muscular feel of a cantering horse, with a large equine bussle that moved from side to side. With silhouettes changing shape from every angle and bold ideas, it was by far the best example this season of a designer at the top of her game. It also was a show carried out in the spirit of McQueen, who committed suicide two years ago. She had worked alongside him for 16 years and, quite clearly, knows how best to work bring the label forward solo. And, whilst last season’s collection was very much a tribute to McQueens’s innate vision, the AW12 catwalks show something that is, quite uniquely, Sarah’s. Structured waists, corsetry, soft lace, sharp tailoring and ultra-feminine styles are definitely very Sarah-esque, nodding to her success with the gorgeous vintage-feel wedding gown Kate Middleton showcased last year. And the crowd definitely seemed to appreciate it, lifting the roof with their applause when Burton made her way onto the catwalk. Sarah Burton may have had a big grin on her face, but still recognised the poignancy behind her landmark collection: “This was about a love of McQueen and everything we do... It feels great to be here.” No wonder she’s been named Britain’s designer of the year; utterly stunning. We wish we could marry Prince Harry, just to wrap one of Burton’s creations around us. Actually, we wouldn’t exactly say no to wrapping the red-haired royal around us either... Burton, designer of Kate Middleton’s dress Photograph: David Burton/AP It’s been a year of triumphs for Sarah Burton, creative director of Alexander McQueen, who from the shadows of working for the late designer has this year become a household name. Burton not only designed the most talked-about dress of the year, the Duchess of Cambridge’s wedding dress, but this month picked up the designer of the year award at the British Fashion Awards. And let’s not forget the not-so-small matter of the “Alexander McQueen: Savage Beauty” retrospective at the Metropolitan Museum in New York. The show was universally applauded and attracted a record attendance in the history of the museum’s costume institute: more than half a million visitors. Burton had been at McQueen’s

right hand for 13 years before the designer killed himself in February 2010. The exhibition was also a tribute to Burton’s extraordinary talent, and the very passionate McQueen team. “It’s been an amazing year,” says Burton in her soft Cheshire-tinged accent from the McQueen HQ in Clerkenwell, London. She joined McQueen straight out of Central Saint Martins: the first question Lee asked her, with his characteristic wit and cheek, was “Do you believe in UFOs?”. “He was a visionary, an incredible man and I feel very lucky to be able to carry on his name – people have been incredibly supportive,” says Burton. “The huge audience at the Metropolitan exhibition really did show how many people his work had touched, and from all walks of life.” The blonde, fine-featured Burton, now 37, has no trace of the egomania that sometimes taints the fashion industry. Winning the biggest dress commission of the century was no small feat. Alexander McQueen is known for a very radical sense of beauty and Kate Middleton could so easily have played it very safe. Burton was asked by the palace to remain zip-lipped about the details and creation of the dress, so she had to engineer a stealth operation. She was endlessly nipping off for mystery “fittings” and appointments with specialists at the Royal School of Needlework, who handmade the metres of beautiful lace applique.

At Westminster Abbey, you could just glimpse the blonde, ballet-shoed Burton slip into camera to adjust the train as Middleton walked down the aisle. That’s what you call hands-on. Burton at Alexander McQueen excels at continuing the legacy of the house while injecting a new heightened sense of femininity and romance in highly wearable and desirable collections. The uniqueness is in the melding of arcane British crafts (lacemakers, embroiderers, feather specialists, leather workers, corset-makers) with modern technology to create extraordinarily dramatic designs. “We are so passionate about what we do and it’s so important that we have established a couture-standard atelier in Britain.” Next year, the younger, urban, sister brand, McQ, will make its debut on the London catwalks, adding a major thrill to London Fashion Week in the Olympic year. “Every day, I love what I do and I think it’s a gift and privilege to love your job. The McQueen team is like family,” she says. Long may Sarah Burton’s magic reign. With her famously gray hair piled up into a bagel of a hairdo, the model Kristen McMenamy stood in her white tulle dress on a carpet of autumnal leaves. Then she stepped into a forest of trees, approaching a fairy tale cottage that — with a Flash! Bang! Wallop! — turned into a discotheque.

Nothing highlighted more the new power and energy of London fashion than the launch on the runway this week of the McQ by Alexander McQueen collection — with François Pinault, chief executive of McQueen’s parent company, PPR, and his movie star wife, Salma Hayek, front row. “We are growing McQ,” said Mr. Pinault, who has given his blessing to opening a McQ flagship on Dover Street in London this spring. “It is very important for the equilibrium of the brand, to balance the luxury of the signature line.” Sarah Burton, the McQueen creative director, said backstage that she wanted to “elevate” this part of the brand. The result for the autumn/winter 2012 season was an enchantment — but with feet firmly grounded in lace-upthe-leg boots. The show started with military tailoring in khaki beige and olive green, followed by the same tough tailoring for men. Alongside trench coats and serious outerwear were womanly dresses with McQueen touches, like a Black Watch plaid dress inset with lace. Ms. Burton captured the forest feeling of the set with dense, leafy embroidery on skirts of coats or dresses. Her ability to distil the essence of the late designer is touching and impressive. There is also something moving and emotional about Mary Katrantzou ’s absolute commitment to color, pattern, embellishment and the concept of turning the mundane — a telephone, a typewriter or a pencil — into the sublime. Maison Lesage, the French embroidery house, helped make the collection haute, with eye-popping 3-D effects like grass on a garden path. “Color is the fruit of life” was the designer’s mantra — a quote from the French poet and playwright Guillaume Apollinaire. That could be the buzz phrase of London Fashion Week, which closes on Wednesday with men’s collections. Ms. Katrantzou has an extraordinary imagination — and exceptional skills. She started with a pencil, for outfits that were exercises in giving three dimensions to black and white. Then came crayons, but not just for their vivid shades. Who would have thought of making the pencils fan out across a skirt or crisscross at the back, like an artistic display of chop sticks? Add the Lesage crystal embroideries and the effect was extraordinary. “It was important to me to associate colors with one every day, mundane item,” Ms. Katrantzou said, revealing that there was method in her madness. The more complex — or crazy — the designs and the ideas, the more simple the clothes became. The designer still kept her curvy, hourglass silhouette for some dresses. But she introduced easy pants and knits that were stitched into the patterns as a woven alternative to print. Floaty chiffon seemed less effective, but still showed an experimental spirit. Here is a designer with three separate skills: shaping, coloring and decorating. And at her show on Tuesday she did all three to the max. Giles Deacon also set out to create a magical moment. Against a background of a historic London guild hall — all wood paneling and ancient crests — the designer de-

In fined the collection as a “disco Jacobean fairy tale.” Sensing beauty in decay, Mr. Deacon sent out patterns of scorching, as though graceful dresses had been licked by flames. This kind of decadence — in its real meaning — brought first womanly clothes in a faintly historic style: A white blouse teamed with a full mustard satin skirt, or old English rose patterns. But even those elegant after-dark dresses, tinged by fire, had a sweet melancholy. There was something calm, elegant and beautiful about this collection that was less like costume than it sounds. RoksandaIlincic gave an homage on her program to Louise Wilson, celebrating the professor’s 20 years at Central Saint Martins — the source of the fountain of design talent spraying over London Fashion Week. But surely her teacher might have advised Ms. Ilincic to put cut and proportion at the base of her work — however much fun it might be to throw a fur around the neck or finish off a rainbow coalition of colors with a pair of yellow shoes? So much of the collection looked heavy and awkward, although the designer previously has seemed to have such a light hand. Perhaps it was the rich wine colors, mingling with fuchsia and turquoise, that overwhelmed the clothes, or the hefty fur hem on a slim astrakhan skirt, or the short padded coat cut in the round. The architect ZahaHadid, sitting front row, might have passed on a few tips about judging the right proportions. There were some elegant dresses, short and long. But the overall effect was a disappointment. Matthew Williamson is always blue sky dreaming. Although he has long since calmed the hippie-de-luxe style that made every collection look like a vacation in Ibiza, there is a residue of that permanent vacation story in the soft pastel colors, fabrics shimmering like sunshine on sea and the iridescent sparkle of mosaic beading. The multipastel fur that opened the show, worn with copper leather pants, set the tone for sunshine sportswear in colors ranging from Aegean blue through mango to wine. But the sweetness was cut by a striking flower print, spreading spiky rays across delicate evening dresses. It seems inevitable that the vivid, saturated color landscape paintings by David Hockney at the Royal Academy would rebound on fashion. But Louise Gray has always had a tendency for wild, upbeat color and pattern. “The collection is about everything, all the time,” the designer announced, referring to her distorted zigzags and crazy woven patterns shown with a frenetic, upbeat energy. Mostly dresses, but those prints enhanced with Op Art-patterned boots, the look was topped off with straw brush headdresses. With Ms. Gray describing her inspirations as the Punk band Rubella Ballet, the mechanics of Fernand Léger and Hockney opera sets, the riotous collection could bring only sunshine to a gray day. At last! The handbag, the centrifugal force of so many wardrobes, has been given a dancing, leaping, spinning show of its own. “It’s important to do something you have always wanted to do,” said Anya Hindmarch of her witty and charming

show, where bags, boxed like toys, moved along a circular conveyor belt; shoes flipped up and down as they took the ride; and where the designer herself finally appeared, riding a gym bike, as candies rained down from the ceiling. Those colorful sweeties were the inspiration for vivid colors that enhanced the simplest accessory. And the entire scenario, envisaged by the set designer Michael Howells, who created so many unforgettable sets for John Galliano, proved that in every way London designers are bringing imagination to the runway — even when the catwalk is commandeered by the accessories.

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