Alexander McQueen, for Aphrodites in Search of Clam ShellsS

Sarah Burton showed a fall collection for Alexander McQueen that mixed light and dark, futurism and romanticism, and played with ideas of volume and space. She did it in the same venue that her predecessor chose for his infamous They Shoot Horses, Don't They?-inspired dance marathon show.

Alexander McQueen, for Aphrodites in Search of Clam ShellsS

The collection worked on the idea of ruffles, only the ruffles were so stiff and crenellated they recalled the striations on a giant clam shell. This was an idea that would resound throughout the collection, in the form of gathered, bell-shaped skirts and sleeves on the small end, and big, fluffy gowns at the other end of the scale.

Alexander McQueen, for Aphrodites in Search of Clam ShellsS

The shoes reminded me a little of the sculpted resin shoes McQueen did in 2011, with their delicate, wave-like shapes. Only with the ruffles on top of the shoe, not underneath, and crossed with the heel-less Nina Ricci shoes from 2009.

Alexander McQueen, for Aphrodites in Search of Clam ShellsS

Cathy Horyn, the New York Times critic, compared the feathered looks to "dandelion heads before the wind catches them."

Alexander McQueen, for Aphrodites in Search of Clam ShellsS

Alexander McQueen, for Aphrodites in Search of Clam ShellsS

And the models wore black visors. Very Margiela. And blonde wigs. Very Callista?

Alexander McQueen, for Aphrodites in Search of Clam ShellsS