Alexander McQueen (British, 1969–2010)
“Jellyfish” Ensemble
Plato’s Atlantis, spring/summer 2010
Dress, leggings, and “Armadillo” boots embroidered with iridescent enamel paillettes
Courtesy of Alexander McQueen
Photograph © Sølve Sundsbø / Art + Commerce

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Sarah Burton: I think with Plato’s Atlantis, it was real perfection the way he executed every single piece. But knowing Lee, he would have probably gone somewhere completely different after Angels and Demons. He would always surprise you, and that was the joy of working with him, is he would always take it somewhere that was unexpected.

Every time he would take up a different theme or a different angle or a different technique and he would always push it forward, like, relentlessly pushing forward. And you could never really predict what he was going to do because he was so much his own person. His vision was so pure.

And he was really funny, and he was really good fun to work for. And, you know, he was incredibly loyal and incredibly inspiring.

Andrew Bolton: McQueen once remarked, “I’m overly romantic,” but it was precisely his romantic yearnings that propelled his creativity and advanced fashion in directions previously considered unimaginable.

“[This collection predicted a future in which] the ice cap would melt . . . the waters would rise and . . . life on earth would have to evolve in order to live beneath the sea once more or perish. Humanity [would] go back to the place from whence it came.”

Plato’s Atlantis (spring/summer 2010) program notes

“There is no way back for me now. I am going to take you on journeys you’ve never dreamed were possible.”

WWD, February 12, 2010