With a pattern of angel wings undulating over her shoulder blades, the model walked out of the gilded salon in one of Alexander McQueen's final creations before he chose to leave this world.Photo: Chris Moore/Karl Prouse
Here sandals wreathed in gilded roses matched the salon's ornate decoration, while the mirrors reflected the models' golden feather Mohawks. The intense workmanship was of couture quality, which is the way Mr. McQueen had been moving his signature line.Photo: Chris Moore/Karl Prouse
The medieval headdress no longer had the wild, joyous madness that it had when Isabella Blow, his friend and mentor, wore one for a 1990s photo shoot. Everything in this collection seemed to be distilled from last season's short and taut dresses balanced on animalistic footwear.Photo: Chris Moore/Karl Prouse
In this collection Alexander "Lee" McQueen showed his sensitivity to history, his powers of research, his imagination, his technical skills and his love of women, often misinterpreted or misunderstood, but here evident in every fold and feather.Photo: Chris Moore/Karl Prouse
The private show that took place Tuesday, to the classical music Mr. McQueen had been listening to as he cut and fitted the 2010 autumn collection, was a requiem for a great designer.Photo: Chris Moore/Karl Prouse
Mr. McQueen's vision of Gothic glory, with a world bathed in religious symbolism, was translated not just with immense subtlety and beauty but also with the urgent futurism that was the essence of his spirit.Photo: Chris Moore/Karl Prouse
The anger and energy that had always driven Mr. McQueen to his finest work had turned to a mesmerizing calm for this 15-piece collection, which he completed before his suicide last month.Photo: Chris Moore/Karl Prouse
The abstractions of Hieronymus Bosch paintings were not just printed on the sensuous and shapely outfits, where a taut bodice grew out of a multi-folded hipline or emerged from soft fabrics flowing around it. All the images, with a focus in the British royal heritage of lions rampant or Grinling Gibbons's wood carvings, were all screened, manipulated and digitally woven.Photo: Chris Moore/Karl Prouse
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