McQueen's Fall 2008 collection was called 'The Girl Who Lived in a Tree' and it was inspired by a combination of his trip to India and a 600 year old elm in his garden. I have included two photos from the runway that year and you can see how the elements from these pieces were combined to create this dress. Pieces from this collection are some of the most valued by collectors. The V&A Museum says of this collection: 'McQueen’s Autumn/Winter 2008 collection centered on a fairy tale narrative devised by McQueen about a girl who descends from a tree to marry a prince and then become a queen. It was inspired by a 600-year-old elm tree in the garden of the designer’s Sussex home. At the center of the set stood a giant tree swathed in fabric, inspired by Bulgarian artist Christo, who is renowned for wrapping buildings with material.' This dress feels a bit like the embodiment of that center piece they refer to, as you are wrapped an swathed in fabric once it is on. The impact of this dress is not truly conveyed on the photos and the way that the chiffon trails behind you is fantastic once on the body.

The dress is beautiful. Rarely does one see this level of workmanship in ready to wear. The fabric is a silk chiffon with a soft almost waffle finish texture. The silk is feather light and once the dress in on the body it feels like you are wearing air. The cut is classic McQueen with an almost scandalously low cut squared off neckline. Underneath he has suggested the presence of a seam with a line of hand placed stitches. This tiny little detail adds shape and gives that dress its empire feel. It is lightly gathered over the bust. Inside the bust is structured and supported. The support is genius and done mainly by couture level seam work and fabric rather then extensive boning. The skirt falls to the floor from beneath the bodice and there are many yards of silk used to create that magnificent skirt. On one side under the bust there is a extra panel of the silk that is caught up and drapes to attach to the top of the opposite shoulder. This creates this curved line that sits off of the dress. The skirts are long and extend even longer at the back. The skirt extends out there to trail out behind you in a long train. I love how the fanbric there extends out from the back upper seam ... as you walk this creates this billowing feel behind you that is extraordinary. It is a work of art from one of the greatest designers of our time. The dress has its original hang tags in place and is in its original uncut length. Excellent condition.

Fully lined in black silk satin through the bust and black silk chiffon through the skirt. It closes with a hidden set zipper at the back. The interior bust is shaped and lightly boned at the sides. Original tags attached. Tagged a McQueen 38.

Bust: to 17" flat across from side seam to side seam
Seam under bust: 13" flat across from side seam to side seam
Natural waist-hips: open
Bodice: 10.5" from shoulder to seam under bust
Length: approx 60" from shoulder to shortest point of the front hem, approx 90" to the longest point of the back hem

Modern Sizing Equivalent: XS-MED

Item# DD3473

Reference Photos: (1-2) F/W 2008 Alexander McQueen Runway Collection (Look 7 & Look 27).

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This is an especially interesting dress from Alexandra McQueen. It is from the Spring 2010 collection and it is a one of the original variations of a dress whose silhouette they still make to this day. Julianne Hough just wore a black version of one of those newer ones from my archives. The one that she wore was from a later collection released under the creative direction of Sarah Burton but based on this dress and others similar that McQueen designed. If you missed that you can see it on my Instagram here. This dress I have today is one of the originals that McQueen himself designed. This was a production piece that did not make it to the runway presentation but you can see similarities in the prints from that season. It’s a spectacular example of his work and it is still brand new with its original tags. It is like finding a time capsule piece.

The dress is made from a floral printed silk crepe that has an explosion of flowers in pale pastel colours covering the entire dress. It is strapless with a built-in inner cupped bodice that gives you support and holds the dress in place. The cups are shaped and these cups are one of the things that you see that is different from the later versions of this dress. In this version the cups are shaped almost like a 1950s bullet bra. The seams in the inner cups are exaggerated and this gives them this beautiful curving angle shape at the sides and peak at the front. The silk is all bias cut. The dress glides over the inner structure and falls in column to the skirt. The waist is just a suggestion created by the seaming and it skims over the hips. At the hem you see one of the biggest differences between this dress and later versions. He has gathered the hem up and underneath so that it is sewn to the inner lining. This gives it a slight bubble effect. It is also slightly twisted so that it narrows in around you at the hem. However, the fullness of the skirt is still there so that you are able to walk with ease. It is quite genius. It also creates this incredible movement when you walk and has the added bonus of always immediately going back to that long lean line. The print that covers the dress is spectacular. It is a beautiful and romantic floral print done in dreamy shades of blue-greys, pale purples, pinks and blue. It has its original tags attached and was never worn. It also comes with a detachable pair of matching straps if you don't wish to go fully strapless. Excellent condition

Fully lined in an ivory silk and has a built in cupped corset. The inner corset closes with its own zipper and the dress zips to close over that with a hidden set zipper. Tagged a McQueen 42. It has its original hang tag still attached. The inner corset has some stretch. You could have the inner corset adjusted if you needed more or less room.

Bust: to 17" flat across from side seam to side seam with a B-C cup
Inner corset waist: 13-16" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 60" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item#

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This spectacular Alexander McQueen dress is from the Pre-fall 2016 collection. The presentation version was far more elaborate but I think I prefer this one. It allows you to really see the pattern on the lace and I think can be worn to more functions with its simpler more versatile feel. Vogue's Sarah Mower said in part of this collection; 'There’s a sensuous glamour emerging through Pre-Fall which seems to be hovering somewhere around the ’30s or ’40s. Sarah Burton has pinned it to a theme she called “thinking about a woman’s obsession with the possessions she treasures, like her jewelry and makeup, and the things she collects.” This Pre-Fall character is a properly elegant woman, with red lipstick and a penchant for feather chubbies and velvet ankle-strap platforms, who might reach into her extensive wardrobe and choose between any number of fragile, dramatic gowns for an evening out.' and the lace butterfly dresses were mentioned specifically; 'Well, it’s a delight when fashion can make you fantasize for a moment. Yet the fact is that Sarah Burton has steered this collection gently away from too much stylization. “It's quite feminine, and unconstructed,” is the way she puts it. The patterns of lipsticks, Fabergé eggs, butterflies, birds, and the McQueen skull motif appear as prints on silk dresses and on coats, as well as on the show-stopping embroidered sheer gowns.'

The dress is almost startling in its beauty. It is made from an inner taupey nude silk that acts as the backdrop for the black net lace that sits over it. This allows you to fully appreciate the pattern that is worked through the lace. From a distance it acts as an illusion that you are bare under the lace. The lace itself has large butterflies worked through it that are beautiful. Every line of the dress is perfection. It falls from the shoulder to follow the curve of your body. Seams worked through the dress create the shape that you see but they have taken great care to line up the pattern of the lace along each seam so that your eye is not broken and the pattern remains true as it trails across the dress. From the waist is falls in one long sheath to the floor widening out gently as it reaches the hem. At the back it has a large curved cut out that leaves you entire back bare and exposed. So when you walk away it has a very sensual and sexy feel. The sleeves are the final touch and they are fantastic. Each is unlined so that you see bare skin through the lace. They are cut high and peaked at the top of the shoulder with a little bit of tulle at the inner edge to hold their shape. It is spectacular and a wonderful example of Sarah's earlier work. It is a wonderful dress now and will be a collectible in the future. Excellent condition

Fully lined in silk as described above and closes with a low set hidden zipper at the back. Three button and loops behind the neck. Each cuff zippers to close. Tagged a modern McQueen 42. I see a slight bit of grubbiness around the inner lining of the neck but otherwise looks to have been worn very little if at all. The hips are slim cut.

Sleeves: 25"
Inset shoulders: 13" with natural shoulders approx 15"
Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 58" from neck to hem
Neck: 14" around

Modern Sizing Equivalent: SML-MED

Item# DD3964

Reference Photo: Pre-Fall 2016 Alexander McQueen Collection, Look 33.

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This dress is instantly recognizable as an Alexander McQueen piece. And it is an incredibly interesting piece when you fully delve into its history. This was a part of the McQueen wedding dress line for the Spring of 2012. By that date the label was under the direction of Sarah Burton. However this dress is a ivory lace version of the dress that Lee designed for the 2007 runway for Look 20. I have seen the twin of this dress for sale at more then double my price and mislabeled as being a 2007 original. But it is not. It was produced in 2012 as an updated dress made wedding appropriate and was based on the 2007 dress that I have included here. The 2007 collection was titled "Sarabrande" and the Alexander McQueen website stated this of that collection:The inspiration is Handelís Sarabande of the title is a majestic and elegant dance - the portraits of Goya, the turn of the century exotic and socialite Marchesa Luisa Casati and garden flowers. As always, there is a melancholic undertone: faded flowers are trapped in chiffon and lace, ruffled skirts constructed out of tiers of delicate petals and prints are botanical brightly coloured birds and blooms, scattering swallows and winding stems of leaves. Show pieces include a dress made entirely out of frozen flowers. Tailoring is this time more fluid than it has been and clothing indebted to horsemanship is worn with finely worked, oversized pirate shirts. McQueen's idealisation of the feminine form continues with an exaggerated hour-glass silhouette.' So the dress is an original Alexander McQueen design but one that was executed after his death. The connection to Lee makes it very interesting and the dress is exceptionally beautiful.

The dress is stunning and even though it is meant to be a wedding dress I think that his work transcends any box assigned to it. As stunning a piece it would make for a bride it would also be spectacular for the events surrounding a wedding weekend or as a gala / event piece. The dress is very fitted through the bodice and waist with a fully built in corset whose boning acts as a secondary design element. You can just see it peaking though the lace over the bust and bodice and the curves and complex pattern iff the boning makes for an interesting detail in itself. The breasts are formed and cupped and and the skirt falls to about the knee, depending on your height, at the front. The sleeves are to the elbow and made from a single layer of that stunning lace. It is set to sit off the shoulder and the runway version in black really gives you an idea of fit. On the runway I think they added a hip peplum or tulle under the back and sides to create a more bustle effect. On this one the train falls in a more graceful and soft feeling down the sides and then down the back to slightly train behind you. If you loved the look of the runway it would be easy to have something made to support the fabric underneath and recreate that look. It is an incredible dress and though it does look pretty on my dress form it is no where near as gorgeous as it will be on an actual body. Excellent condition with one minor note below. 

The bodice has a full complexly boned corset and cups and closes with a back hidden set zipper. The lace snaps into place over the top portion of the zipper and just above it. The skirt is fully lined in an ivory silk. This was never worn but there is a small yellowing spot on the back of the lace above the zipper that happened during storage. It is on the underside of the lace that snaps to close so once it is snapped into place the lace above it hides it completely. I have added three photos after the label shots to show this. The first is the mark on the lining, the second to show that it peaks out on the lace just slightly and the third shows it snapped close with the other side over it completely hiding the mark. The corset does have some stretch. Tagged a 42

Sleeves: 12.5"
Bust: approx 17.5" flat across from side seam to side seam with a B-C cup
Waist: 12-14" flat across from side seam to side seam
Seam at the bottom of the corset/top of the hips: 16-17.5"
Natural hips: open
Bodice: 19" from top of natural shoulder to bottom seam of the corset
Skirt: 38" from top of natural shoulder to front hem, 64" to the longest point of the back 

Modern Sizing Equivalent: SML-MED

Item# DD3907

Reference Photos: Spring 2007 Alexander McQueen Runway. Look 20 worn by Camila Finn.

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This suit is instantly recognizable as an Alexander McQueen piece and it is stunning. The spring 2008 collection was called 'La Dame Bleue' and was a tribute to his mentor and friend Isabella Blow who had committed suicide on May of 2007 after a long bout of illness. His statement of the show was this; 'Isabella flew. The collection is exuberant and excessive. It's about her way of thinking and that way of thinking brought light into fashion. Even when she was down she was up with what she wore. I had the best times with Isabella. I remember going to Mauritius with her and I'd come back from scuba diving and it would be 100 degrees and she'd be standing on the beach head to toxin McQueen with a Philip Treacy Hat on. Or we'd be sitting around the pool and she'd still be head to toe in McQueen with a Philip Treacy hat on. I've though a lot about why she would wear things like that and she wore them because it made her feel like a diva. She was a diva in what she wore. She pulled it off. I never blinked at what she wore. It just seemed normal. So this was a collection about Isabella ad about wearing clothes that transform you." The entire show was a beautiful testament to someone he loved dearly. In Vogue's review of the collection they said; 'All terrible emotions apart, McQueen, like every other designer, can only be judged in the unsparing light of the general arena of fashion. To put it bluntly, this collection—after an off season last time—was going to stand or fall based on whether his clothes were any good....It stood. McQueen mustered the clarity to dispense with smoke and mirrors and show his capabilities in cut, drape, and feathered flourish to an audience near enough to inspect every detail. He stepped up to the plate by running through all his archived knowledge—Savile Row tailoring in Prince of Wales menswear check jackets and strict, strong-shouldered suiting, combined with the legacy of his couture experience in fan-pleated chiffon, goddess-y drape, and hand-crafted drama. The theme of birds—particularly symbolic of Blow—held the show together through a reprise of all the highlights of McQueen's career... In all, McQueen honored his mentor by striving to bring out the best in himself.' This was the fifth last collection of his career and these last collections are considered to be some of his most brilliant. 

The suit is identical to the one that walked the show with the addition of the wide black patent belt. Very few of these would have been produced and it is amazing to have such an wonderful piece of his work in the shop and to have the full suit with both its detachable feather collar and belt. This one has the extra added provenance of having been lent by me and worn by Sofia Carson for the Unicef 75th Anniversary Luncheon. Its twin was also worn by none other then Michelle Obama for her Ebony Magazine cover

A piece like this truly showcases McQueen’s strong tailoring background and master cutting abilities. The suit is made from a light black wool suiting fabric and gives a nod to his heritage and strong tailoring roots. The jacket is also cut with sharply tailored lines and then he has added that spectacular feather collar and brought in the waist with the belt to create a more feminine shape. The belt slips through slits on either side of the back. I love that it still feels very refined despite its avant garde details and cut. The shoulders are squared off and padded to hold their shape. Each sleeve is cut on a slight curve in the proper manner of tailoring a sleeve and ends in 4 buttons at each cuff. The body of the jacket is shaped with a female body in mind and is cut in at the waist for shape. It closes with a single button there. I am obsessed with the collar. The neckline is edged in a black patent that curves around the neck and narrows down to a point where it then meets the button at the waist. The feather collar is detachable and is made by a thick overlapping of red dyed feathers with black painted edges. It buttons into place along the inside of the collar and is set to stand up and frame the neck. This gives it a very unusual detailing and plays into the avian theme the show had. Under the waist the jacket skims over the hips and it is slightly cropped. Slant pockets sit on each hip and they still have their original tacking. At the back it is cut to flare out a touch. The skirt has been kept very simple so that it is the jacket that shines. It is cut with a flat front and is fitted into a short pencil silhouette. You really need to watch the runway clip to see just how stunning it in on and moving. I also photoed it in all its variations so you can see it with and without the belt and feather collar. The workmanship is meticulous and it is an absolutely beautiful and a rare piece of his work. Excellent condition with a minor note below. 

Both piece are fully lined in a black silk. The jacket closes with a single button at the front. The skirt closes with a hidden set zipper. The feather collar buttons into place and the belt closes with hidden snaps. The jacket is tagged a size 40, the skirt a 42 and the belt is a 38. Padding on the shoulders and the pockets on the jacket have their original tacking to close them. It looks like the sides of the skirt were taken in a touch at some point and when it was lent to Sofia it was taken in a little more with a temporary alteration and you can see a bit of the stitch lines on the inner lining. A bit of crinkling on the belt but it is where it sits under the jacket when on so is not seen when worn

Jacket
Sleeves: 24.5"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 24" from neck to longest point of hem

Skirt
Waist: to 13.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 21" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3870

Reference Photos/Video: (1-4) Spring 2008 Alexander McQueen Runway Collection, Look 26. Model: Raquel Zimmermann.  /  (5) Sofia Carson at the Unicef 75th Anniversary Luncheon, Dec 2021.  /  (6) Michelle Obama in Alexander McQueen, Ebony, September 2008.  /  (7) From the book “Alexander McQueen” edited by Claire Wilcox.

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

McQueen's Fall 2008 collection was called 'The Girl Who Lived in a Tree' and it was inspired by a combination of his trip to India and a 600 year old elm in his garden. I have included two photos from the runway that year and you can see how the elements from these pieces were combined to create this dress. Pieces from this collection are some of the most valued by collectors. The V&A Museum says of this collection: 'McQueen’s Autumn/Winter 2008 collection centered on a fairy tale narrative devised by McQueen about a girl who descends from a tree to marry a prince and then become a queen. It was inspired by a 600-year-old elm tree in the garden of the designer’s Sussex home. At the center of the set stood a giant tree swathed in fabric, inspired by Bulgarian artist Christo, who is renowned for wrapping buildings with material.' This dress feels a bit like the embodiment of that center piece they refer to, as you are wrapped an swathed in fabric once it is on. The impact of this dress is not truly conveyed on the photos and the way that the chiffon trails behind you is fantastic once on the body.

The dress is beautiful. Rarely does one see this level of workmanship in ready to wear. The fabric is a silk chiffon with a soft almost waffle finish texture. The silk is feather light and once the dress in on the body it feels like you are wearing air. The cut is classic McQueen with an almost scandalously low cut squared off neckline. Underneath he has suggested the presence of a seam with a line of hand placed stitches. This tiny little detail adds shape and gives that dress its empire feel. It is lightly gathered over the bust. Inside the bust is structured and supported. The support is genius and done mainly by couture level seam work and fabric rather then extensive boning. The skirt falls to the floor from beneath the bodice and there are many yards of silk used to create that magnificent skirt. On one side under the bust there is a extra panel of the silk that is caught up and drapes to attach to the top of the opposite shoulder. This creates this curved line that sits off of the dress. The skirts are long and extend even longer at the back. The skirt extends out there to trail out behind you in a long train. I love how the fanbric there extends out from the back upper seam ... as you walk this creates this billowing feel behind you that is extraordinary. It is a work of art from one of the greatest designers of our time. The dress has its original hang tags in place and is in its original uncut length. Excellent condition.

Fully lined in black silk satin through the bust and black silk chiffon through the skirt. It closes with a hidden set zipper at the back. The interior bust is shaped and lightly boned at the sides. Original tags attached. Tagged a McQueen 38.

Bust: to 17" flat across from side seam to side seam
Seam under bust: 13" flat across from side seam to side seam
Natural waist-hips: open
Bodice: 10.5" from shoulder to seam under bust
Length: approx 60" from shoulder to shortest point of the front hem, approx 90" to the longest point of the back hem

Modern Sizing Equivalent: XS-MED

Item# DD3473

Reference Photos: (1-2) F/W 2008 Alexander McQueen Runway Collection (Look 7 & Look 27).

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This is an especially interesting dress from Alexandra McQueen. It is from the Spring 2010 collection and it is a one of the original variations of a dress whose silhouette they still make to this day. Julianne Hough just wore a black version of one of those newer ones from my archives. The one that she wore was from a later collection released under the creative direction of Sarah Burton but based on this dress and others similar that McQueen designed. If you missed that you can see it on my Instagram here. This dress I have today is one of the originals that McQueen himself designed. This was a production piece that did not make it to the runway presentation but you can see similarities in the prints from that season. It’s a spectacular example of his work and it is still brand new with its original tags. It is like finding a time capsule piece.

The dress is made from a floral printed silk crepe that has an explosion of flowers in pale pastel colours covering the entire dress. It is strapless with a built-in inner cupped bodice that gives you support and holds the dress in place. The cups are shaped and these cups are one of the things that you see that is different from the later versions of this dress. In this version the cups are shaped almost like a 1950s bullet bra. The seams in the inner cups are exaggerated and this gives them this beautiful curving angle shape at the sides and peak at the front. The silk is all bias cut. The dress glides over the inner structure and falls in column to the skirt. The waist is just a suggestion created by the seaming and it skims over the hips. At the hem you see one of the biggest differences between this dress and later versions. He has gathered the hem up and underneath so that it is sewn to the inner lining. This gives it a slight bubble effect. It is also slightly twisted so that it narrows in around you at the hem. However, the fullness of the skirt is still there so that you are able to walk with ease. It is quite genius. It also creates this incredible movement when you walk and has the added bonus of always immediately going back to that long lean line. The print that covers the dress is spectacular. It is a beautiful and romantic floral print done in dreamy shades of blue-greys, pale purples, pinks and blue. It has its original tags attached and was never worn. It also comes with a detachable pair of matching straps if you don't wish to go fully strapless. Excellent condition

Fully lined in an ivory silk and has a built in cupped corset. The inner corset closes with its own zipper and the dress zips to close over that with a hidden set zipper. Tagged a McQueen 42. It has its original hang tag still attached. The inner corset has some stretch. You could have the inner corset adjusted if you needed more or less room.

Bust: to 17" flat across from side seam to side seam with a B-C cup
Inner corset waist: 13-16" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 60" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item#

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This spectacular Alexander McQueen dress is from the Pre-fall 2016 collection. The presentation version was far more elaborate but I think I prefer this one. It allows you to really see the pattern on the lace and I think can be worn to more functions with its simpler more versatile feel. Vogue's Sarah Mower said in part of this collection; 'There’s a sensuous glamour emerging through Pre-Fall which seems to be hovering somewhere around the ’30s or ’40s. Sarah Burton has pinned it to a theme she called “thinking about a woman’s obsession with the possessions she treasures, like her jewelry and makeup, and the things she collects.” This Pre-Fall character is a properly elegant woman, with red lipstick and a penchant for feather chubbies and velvet ankle-strap platforms, who might reach into her extensive wardrobe and choose between any number of fragile, dramatic gowns for an evening out.' and the lace butterfly dresses were mentioned specifically; 'Well, it’s a delight when fashion can make you fantasize for a moment. Yet the fact is that Sarah Burton has steered this collection gently away from too much stylization. “It's quite feminine, and unconstructed,” is the way she puts it. The patterns of lipsticks, Fabergé eggs, butterflies, birds, and the McQueen skull motif appear as prints on silk dresses and on coats, as well as on the show-stopping embroidered sheer gowns.'

The dress is almost startling in its beauty. It is made from an inner taupey nude silk that acts as the backdrop for the black net lace that sits over it. This allows you to fully appreciate the pattern that is worked through the lace. From a distance it acts as an illusion that you are bare under the lace. The lace itself has large butterflies worked through it that are beautiful. Every line of the dress is perfection. It falls from the shoulder to follow the curve of your body. Seams worked through the dress create the shape that you see but they have taken great care to line up the pattern of the lace along each seam so that your eye is not broken and the pattern remains true as it trails across the dress. From the waist is falls in one long sheath to the floor widening out gently as it reaches the hem. At the back it has a large curved cut out that leaves you entire back bare and exposed. So when you walk away it has a very sensual and sexy feel. The sleeves are the final touch and they are fantastic. Each is unlined so that you see bare skin through the lace. They are cut high and peaked at the top of the shoulder with a little bit of tulle at the inner edge to hold their shape. It is spectacular and a wonderful example of Sarah's earlier work. It is a wonderful dress now and will be a collectible in the future. Excellent condition

Fully lined in silk as described above and closes with a low set hidden zipper at the back. Three button and loops behind the neck. Each cuff zippers to close. Tagged a modern McQueen 42. I see a slight bit of grubbiness around the inner lining of the neck but otherwise looks to have been worn very little if at all. The hips are slim cut.

Sleeves: 25"
Inset shoulders: 13" with natural shoulders approx 15"
Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 58" from neck to hem
Neck: 14" around

Modern Sizing Equivalent: SML-MED

Item# DD3964

Reference Photo: Pre-Fall 2016 Alexander McQueen Collection, Look 33.

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This dress is instantly recognizable as an Alexander McQueen piece. And it is an incredibly interesting piece when you fully delve into its history. This was a part of the McQueen wedding dress line for the Spring of 2012. By that date the label was under the direction of Sarah Burton. However this dress is a ivory lace version of the dress that Lee designed for the 2007 runway for Look 20. I have seen the twin of this dress for sale at more then double my price and mislabeled as being a 2007 original. But it is not. It was produced in 2012 as an updated dress made wedding appropriate and was based on the 2007 dress that I have included here. The 2007 collection was titled "Sarabrande" and the Alexander McQueen website stated this of that collection:The inspiration is Handelís Sarabande of the title is a majestic and elegant dance - the portraits of Goya, the turn of the century exotic and socialite Marchesa Luisa Casati and garden flowers. As always, there is a melancholic undertone: faded flowers are trapped in chiffon and lace, ruffled skirts constructed out of tiers of delicate petals and prints are botanical brightly coloured birds and blooms, scattering swallows and winding stems of leaves. Show pieces include a dress made entirely out of frozen flowers. Tailoring is this time more fluid than it has been and clothing indebted to horsemanship is worn with finely worked, oversized pirate shirts. McQueen's idealisation of the feminine form continues with an exaggerated hour-glass silhouette.' So the dress is an original Alexander McQueen design but one that was executed after his death. The connection to Lee makes it very interesting and the dress is exceptionally beautiful.

The dress is stunning and even though it is meant to be a wedding dress I think that his work transcends any box assigned to it. As stunning a piece it would make for a bride it would also be spectacular for the events surrounding a wedding weekend or as a gala / event piece. The dress is very fitted through the bodice and waist with a fully built in corset whose boning acts as a secondary design element. You can just see it peaking though the lace over the bust and bodice and the curves and complex pattern iff the boning makes for an interesting detail in itself. The breasts are formed and cupped and and the skirt falls to about the knee, depending on your height, at the front. The sleeves are to the elbow and made from a single layer of that stunning lace. It is set to sit off the shoulder and the runway version in black really gives you an idea of fit. On the runway I think they added a hip peplum or tulle under the back and sides to create a more bustle effect. On this one the train falls in a more graceful and soft feeling down the sides and then down the back to slightly train behind you. If you loved the look of the runway it would be easy to have something made to support the fabric underneath and recreate that look. It is an incredible dress and though it does look pretty on my dress form it is no where near as gorgeous as it will be on an actual body. Excellent condition with one minor note below. 

The bodice has a full complexly boned corset and cups and closes with a back hidden set zipper. The lace snaps into place over the top portion of the zipper and just above it. The skirt is fully lined in an ivory silk. This was never worn but there is a small yellowing spot on the back of the lace above the zipper that happened during storage. It is on the underside of the lace that snaps to close so once it is snapped into place the lace above it hides it completely. I have added three photos after the label shots to show this. The first is the mark on the lining, the second to show that it peaks out on the lace just slightly and the third shows it snapped close with the other side over it completely hiding the mark. The corset does have some stretch. Tagged a 42

Sleeves: 12.5"
Bust: approx 17.5" flat across from side seam to side seam with a B-C cup
Waist: 12-14" flat across from side seam to side seam
Seam at the bottom of the corset/top of the hips: 16-17.5"
Natural hips: open
Bodice: 19" from top of natural shoulder to bottom seam of the corset
Skirt: 38" from top of natural shoulder to front hem, 64" to the longest point of the back 

Modern Sizing Equivalent: SML-MED

Item# DD3907

Reference Photos: Spring 2007 Alexander McQueen Runway. Look 20 worn by Camila Finn.

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This suit is instantly recognizable as an Alexander McQueen piece and it is stunning. The spring 2008 collection was called 'La Dame Bleue' and was a tribute to his mentor and friend Isabella Blow who had committed suicide on May of 2007 after a long bout of illness. His statement of the show was this; 'Isabella flew. The collection is exuberant and excessive. It's about her way of thinking and that way of thinking brought light into fashion. Even when she was down she was up with what she wore. I had the best times with Isabella. I remember going to Mauritius with her and I'd come back from scuba diving and it would be 100 degrees and she'd be standing on the beach head to toxin McQueen with a Philip Treacy Hat on. Or we'd be sitting around the pool and she'd still be head to toe in McQueen with a Philip Treacy hat on. I've though a lot about why she would wear things like that and she wore them because it made her feel like a diva. She was a diva in what she wore. She pulled it off. I never blinked at what she wore. It just seemed normal. So this was a collection about Isabella ad about wearing clothes that transform you." The entire show was a beautiful testament to someone he loved dearly. In Vogue's review of the collection they said; 'All terrible emotions apart, McQueen, like every other designer, can only be judged in the unsparing light of the general arena of fashion. To put it bluntly, this collection—after an off season last time—was going to stand or fall based on whether his clothes were any good....It stood. McQueen mustered the clarity to dispense with smoke and mirrors and show his capabilities in cut, drape, and feathered flourish to an audience near enough to inspect every detail. He stepped up to the plate by running through all his archived knowledge—Savile Row tailoring in Prince of Wales menswear check jackets and strict, strong-shouldered suiting, combined with the legacy of his couture experience in fan-pleated chiffon, goddess-y drape, and hand-crafted drama. The theme of birds—particularly symbolic of Blow—held the show together through a reprise of all the highlights of McQueen's career... In all, McQueen honored his mentor by striving to bring out the best in himself.' This was the fifth last collection of his career and these last collections are considered to be some of his most brilliant. 

The suit is identical to the one that walked the show with the addition of the wide black patent belt. Very few of these would have been produced and it is amazing to have such an wonderful piece of his work in the shop and to have the full suit with both its detachable feather collar and belt. This one has the extra added provenance of having been lent by me and worn by Sofia Carson for the Unicef 75th Anniversary Luncheon. Its twin was also worn by none other then Michelle Obama for her Ebony Magazine cover

A piece like this truly showcases McQueen’s strong tailoring background and master cutting abilities. The suit is made from a light black wool suiting fabric and gives a nod to his heritage and strong tailoring roots. The jacket is also cut with sharply tailored lines and then he has added that spectacular feather collar and brought in the waist with the belt to create a more feminine shape. The belt slips through slits on either side of the back. I love that it still feels very refined despite its avant garde details and cut. The shoulders are squared off and padded to hold their shape. Each sleeve is cut on a slight curve in the proper manner of tailoring a sleeve and ends in 4 buttons at each cuff. The body of the jacket is shaped with a female body in mind and is cut in at the waist for shape. It closes with a single button there. I am obsessed with the collar. The neckline is edged in a black patent that curves around the neck and narrows down to a point where it then meets the button at the waist. The feather collar is detachable and is made by a thick overlapping of red dyed feathers with black painted edges. It buttons into place along the inside of the collar and is set to stand up and frame the neck. This gives it a very unusual detailing and plays into the avian theme the show had. Under the waist the jacket skims over the hips and it is slightly cropped. Slant pockets sit on each hip and they still have their original tacking. At the back it is cut to flare out a touch. The skirt has been kept very simple so that it is the jacket that shines. It is cut with a flat front and is fitted into a short pencil silhouette. You really need to watch the runway clip to see just how stunning it in on and moving. I also photoed it in all its variations so you can see it with and without the belt and feather collar. The workmanship is meticulous and it is an absolutely beautiful and a rare piece of his work. Excellent condition with a minor note below. 

Both piece are fully lined in a black silk. The jacket closes with a single button at the front. The skirt closes with a hidden set zipper. The feather collar buttons into place and the belt closes with hidden snaps. The jacket is tagged a size 40, the skirt a 42 and the belt is a 38. Padding on the shoulders and the pockets on the jacket have their original tacking to close them. It looks like the sides of the skirt were taken in a touch at some point and when it was lent to Sofia it was taken in a little more with a temporary alteration and you can see a bit of the stitch lines on the inner lining. A bit of crinkling on the belt but it is where it sits under the jacket when on so is not seen when worn

Jacket
Sleeves: 24.5"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 24" from neck to longest point of hem

Skirt
Waist: to 13.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 21" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3870

Reference Photos/Video: (1-4) Spring 2008 Alexander McQueen Runway Collection, Look 26. Model: Raquel Zimmermann.  /  (5) Sofia Carson at the Unicef 75th Anniversary Luncheon, Dec 2021.  /  (6) Michelle Obama in Alexander McQueen, Ebony, September 2008.  /  (7) From the book “Alexander McQueen” edited by Claire Wilcox.

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.