女巫是女性赋权最持久的象征之一，尽管占据统治地位的父权制度在几百年里不遗余力地将她们活活烧死淹死，或让她们流放他乡，远离自己的社群，将她们的痕迹从史书抹去。在法国巴黎，Sarah Burton昨晚上展示了她为Alexander McQueen设计的系列，用一场无敌美丽的发布会庆祝女性异端宗教与社群精神。与上季一样，本季灵感也来自Burton与团队的旅行。这回，他们去了与女巫关系最为紧密的地区康沃尔郡（Cornwall），到访的博德明高沼（Bodmin Moor）与廷塔哲城堡（Tintagel）废墟都与亚瑟王传说有关。
One of the most enduring symbols of female empowerment is the witch, despite the dominant patriarchy’s centuries-long efforts to burn her, drown her and otherwise exile her from her community and write her out of herstory. The collection Sarah Burton showed for Alexander McQueen on Monday night was an arse-paralysingly beautiful celebration of female paganism, and of a spirit of community too. Like last season, it stemmed from a road trip Burton took with her team — this one to Cornwall, the witchiest part of the United Kingdom — where they walked Bodmin Moor and visited the ruins of Tintagel Castle, both sites that are fundamental to the legend of King Arthur.
On one of their ambles, the McQueeners came across a “cloutie” tree, where people tied charms and ribbons as they made a wish. Hopes, dreams, magick, the life force of women, their primal connection to the earth…with such potent ingredients, it would only have been a wonder if Burton hadn’t served up one of the most unforgettable dishes of the entire season.
It was the gentlest collection she has shown, even if it did open on a note of high drama, with a black leather coat sutured in blood red. I’ve heard this particular stitch called the Frankenstein stitch. It worked here to convey the notion of a new life form being born. The effect was duplicated on white knit, the curves of the body defined by the lacing, which floated away from the clothes like those ribbons tied to the wishing tree.
Then there were tweeds, twisted with electric yarns and strips of chiffon, again inspired by the “cloutie.” But there was softness in the way the clothes caressed the body. Once, there would have been corsets. Here, there was knitwear engineered for shape. Or cashmere felting that was cut into languid, generously tailored pieces, paired with thick-soled sneakers.
然后十几件可谓称之为杰作的单品：绣上标志与符号的丝绸连衣裙——来自德鲁伊教的，化学的，植物的（所有都在维多利亚和阿尔伯特博物馆中经过调查研究觅得）。刺绣溶解出彩色线条或尾尾羽毛。Burton很早就熟练掌握了这种效果，但从来没有如此新鲜活泼，也从来没能与系列的原始灵魂如此一致。模特Sarah Brannon身穿的紧身长裙带有充满活力、变幻的植物与动物群图案，像是雷·布莱德利（Ray Bradbury）小说《被描绘的人》（The Illustrated Man）的女性版本。她一看到你就给你施了法术，她的美又是多么惊人。
And then a dozen pieces de resistance, silk dresses embroidered with signs and symbols — Druidic, alchemical, botanical (all of them researched in the Victoria and Albert Museum). The embroidery dissolved into a veil of coloured thread or a trail of feathers. Burton mastered such effects an age ago, but they have never felt quite so fresh and alive, quite so in tune with the primal soul of the collection. Sarah Brannon, in a psychedelic sheath of vibrant, shifting flora and fauna, looked like the female version of Ray Bradbury’s Illustrated Man. She’d put a spell on you as soon as look at you. She was stunning.
黑暗下翻滚的逆流给本季系列添加了令人难以抗拒的气质。发布会布景中挂着法国艺术工作室M/M Paris背后的创意组合Mathias Augustyniak和Michael Amzalag设计的丝质横幅。看起来像是日落景象，但是是“侧面”的日落。“世界上下颠倒了，”Burton说。请老天保佑，让女巫的季节再度降临人间吧。
And that undertow of the dark, the danger, gave the collection an irresistible edge. The set was hung with huge woven silk banners by Mathias Augustyniak and Michael Amzalag, the M/M of design legend. They looked like images of sunsets, but turned sideways. “The world’s turned on its head,” said Burton. Please Lord, let the season of the witch be upon us.