is an industry that fiercely guards its smoke and mirrors, whether that’s the mythology of a smoking tuxedo or the carefully preserved geometry of a mirrored Art Deco staircase. For decades – perhaps even centuries – designers have operated from ivory towers, telescoping subversive influences up to the stratosphere, and as a result, fashion has remained clouded within the upper echelons.
In her role, Sarah oversees everything at McQueen: womenswear, menswear, accessories, campaigns, communications, retail. She is the guardian of one of the most precious legacies and archives in fashion history and one that she has helped create for more than half her life. Her vision of fashion is perhaps softer than her predecessor’s, a bit less theatrical, but no less romantic or feminine.
This isn’t some kind of marketing initiative designed to win over Gen Z customers, or indoctrinate brand loyalty from an early age. It’s inclusivity in its purest, simplest form. If the blockbuster exhibitions on McQueen demonstrate anything, it’s that even the most sceptical fashionphobes are in awe of the brand and its incredible archive. In fact, it sometimes feels as if it were a cultural institution in itself.
“We wanted to encourage people to work with their hands during this time and provide a creative outlet, supporting them to learn how to drape, print, sew and embroider at home,” Sarah explains. “It wasn’t solely aimed at students. It was also an initiative to help people get through the current circumstances, to enjoy the creative expression that we ourselves are privileged enough to benefit from.
I have done - but as everyone on the course learns - it’s not what you know - it’s who you know.
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