A few words to describe the experience at Savage Beauty: Alexander McQueen at the Metropolitan Museum of Art this weekend: Hot. Crowded. Worth the trip, no matter what.

Vogue UK is reporting this morning that the McQueen exhibit is the Costume Instituteâ€s most popular ever at the MET with 5,100 people showing up on opening day, and @WorldMcQueen tweeted that the MET reported a record 43,000+ visitors to the exhibit in less than a week. We certainly believe it.

We got to the museum around 3:30 p.m. on Saturday and headed straight for the special exhibit, which was unveiled at the Costume Institute Gala last Monday and opened to the public May 4, making this the first weekend ordinary folks could visit it. On reaching the entrance the crowding was apparent, but there was no line. However, upon exiting the Savage Beauty exhibit about 90 minutes later, a 45 minute-long line had formed and was snaking its way throughout the European paintings.

Savage Beauty will remain at the MET until July 31, so if youâ€re really not into the idea of a potential long wait, holding off for a few weeks might be a good idea. Weâ€re of the opinion, however, that this special exhibit is worth the 45 minute line.

McQueenâ€s pieces possess a certain magic, and being in the presence of his work had a goose-bump inducing effect, particularly in one of the multiple rooms of the exhibit which contained mounted television screens running clips of some of McQueenâ€s most memorable shows like “What a Merry Go Round” and, our personal favorite, “Itâ€s Only a Game.” Seeing the “Armadillo” shoes and several looks from “Platoâ€s Atlantis” was also amazing. You can truly appreciate McQueenâ€s attention to detail and perfect execution when viewing his work in person. We couldâ€ve stared at some of the pieces for hours without becoming bored.

The exit from the exhibit included a Savage Beauty gift shop with all of the expected memorabilia including Savage Beauty T-shirts and wall calendars. Also available was a catalogue by Andrew Bolton, which can also be purchased online in addition to a commemorative skull scarf (for $495, of course).

If we had one gripe regarding Savage Beauty, it would be the banshee music in the second room. The exhibit consisted of multiple rooms, and in each the different music was appropriately haunting and set the tone perfectly. In room two, however, the music consisted of a repeated banshee howl, which was actually a bit corny and somewhat annoying as movement through the exhibit slowed with the growing crowd. One other minor inconvenience: no pictures are allowed. It’s an understandable rule, but still disappointing that the museum docents were strict about enforcing it.

Surprisingly, the large number of visitors to the exhibit doesnâ€t fall into the category of pitfalls. Though the crowd had its annoyances, it was actually an additional fascination. So many different types of people were there, from fashion types to mothers and their kids, groups of girlfriends and a few older groups. It was at once surprising and refreshing to see such varied and large interest in a fashion exhibit, since it often seems widespread interest in fashion is restricted to shopping.

Bottom line: no matter who you are or how much knowledge of or interest in fashion you have, Savage Beauty is worth the trip to the MET. Get yourself there. ASAP.

Exhibition renderings by Joseph Bennett via the Metropolitan Museum of Art Blog

Anna Sui's furry cat hat. Image via Style.com

Animal print clothing is classy, trendy right now and a nice way to switch up your style if you typically stick to neutrals and want to indulge in a pattern every so often, but Anna Sui may have taken the animal-as-clothing thing a bit too far. Last Wednesday at Lincoln Center, Sui sent a few models down the runway in giant cat hats. {FocusOnStyle}

Fashionista is reporting that the cat hats will be available at Suiâ€s SoHo store this fall for about $205. If you love crazy hats or you are really into the feline thing, one of these hats may not be a bad investment. The cat hat looks really warm and it completely covers the ears, which is important for staying toasty when the weather gets cold. We do worry, though, that itâ€s one of those things that works on the runway but not in real life unless you happen to be Lady Gaga. Or a junior high school student participating in spirit week.

A few months ago, we defended Baileyâ€s collection (after all, at least he made an attempt to take advantage of modern technology and business practices), but for his Fall 2011 Burberry Prorsum show, which took place this week in London, we thought there would be no need for Signature9 to come to Baileyâ€s defense. The clothes he turned out are overtly fall (Cathy Horyn at The New York Times dinged Bailey for ignoring spring influences in favor of clothes that could be worn right away last season), colorful, 60s-inspired and overall quite charming (love the cow print!). It seems, though, that many fashion critics are still unimpressed by Burberry and still complaining that Baileyâ€s embrace of technology has left his creativity in the dust.

Booth Moore at the Los Angeles Times said the show was “cute” and that “Bailey was right to keep the focus on outerwear,” but criticized Baileyâ€s clothes for being too far from the seasonless looks shoppers crave these days, which is funny considering Bailey was criticized last season precisely for being seasonless.

Suzy Menkes at The New York Times said Burberry was thinking too big, writing that “what [Burberry] gained in bombast, the once-quirky line lost in charm, cheek and irony that the designer Christopher Bailey has previously brought to the Burberry Prorsum brand.” She also said, “Burberry has to be careful that its brilliant and forward-looking embrace of the Internet does not leave too much behind — especially that ironic take on tradition, the British countryside and the brand heritage that Mr. Bailey can tweak so well.”

Looks like we need to weigh in again. Lucky for Bailey, though, it seems the general consensus among smaller fashion bloggers is that Burberryâ€s recent collection was highly impressive, and not just in comparison to the last show. We know we little old bloggers arenâ€t Anna Wintour or anything, but Fashionista, for instance, called Bailey “a master of the brand he has brought into the 21st century with ease.”

We wonâ€t go on a rant about the importance of digital technology and the urgent need for fashion types to make like Bailey and embrace it already, but we will say this: thank goodness for Christopher Bailey. The showâ€s coats looked warm and realistic for winter, the tweeds and tights were just what we want to be wearing come fall and there was the perfect amount of bright colors mixed with snowy whites and neutrals – and Baileyâ€s managed to do this all while catering to the modern need for instant gratification by making the collection available very soon, not months from now like most other brands†clothes. Bravo, Bailey!

Get ready to retire your skinny jeans and say hello to a fresh fall style this year. Last weekend we had the pleasure of attending Tory Burchâ€s Fall 2011 runway show as part of New York Fashion Week, and the designer delivered a ‘70s style collection with looks for work, weekend and evening.

The show was dominated by 70s-inspired pants with super wide legs in camels, plaids and prints and also featured models with center-parted,unfussy tresses that recalled the decade. Some of the models also wore red leather boots, grey stockings and blouses ruffled at the neck.

Our favorite look (which, according to Twitter, is one of Toryâ€s favorites too!) was a matching camel and navy print ensemble with, of course, wide leg pants and a blouse with matching scarf. Our other favorite? A black lace top and super flare leg pants with layers of shimmering  detailing at the collar, cuff and hem that was the perfect blend of ’70s inspiration and modernity.

According to show notes, Burch was going for something currently American with touches of English country. We certainly got that vibe from the furry parkas and previously mentioned blouses and tights that were mixed with of-the-moment trends like sequins and lace.

Overall, Burch stayed true to her signature styles while coming up with a fresh set of looks. Almost makes us want to rush through summer to next fall so we can wear the clothes. Almost.

Alexander McQueen Moves Forward

Goodbye Mr. McQueen, hello Ms. Burton. Long live McQueen.

Style.com covered the passing of Alexander McQueen and the showing of the final collection he designed, but something that was equally important this year was the success of Sarah Burtonâ€s first show as the new designer for the McQueen label. The passing of such a genius creative mind was indeed tragic, and the showing of McQueenâ€s last collection was a special moment, but Burtonâ€s signal that the brand can honor McQueenâ€s legacy while moving forward was absolutely stellar.

John Gallianoâ€s Dior Couture Wows

Dior haute couture was in full bloom this year when John Galliano showed his Spring 2011 collection of flower-inspired looks. The imagery and execution of the designs combined with the high, tulip-like hair of the models for a full package display of gorgeousness and perhaps our favorite moment in fashion of 2010.

Michael Kors thinks you'd appreciate this dress more if the collection in which it appeared had a different name.

“Everyone knows now that resort is important, but because the name ‘pre-fall’ is so ugly no one wants to acknowledge that these are the clothes you actually put in your closet,” he said at his recent pre-fall presentation.

Kors is certainly correct about that last part. Pre-fall collections typically consist of more commercially appealing looks than the fall/winter runway shows, but more interest is directed toward the latter likely just for this reason – because fall/winter runway collections are edgier and riskier, thus more intriguing.

As for his opinion that pre-fall gets the shaft because of its “ugly” name, Kors may be right that the name is a problem, but it is not simply because pre-fall is “ugly.” Our guess is that the average consumer thinks pre-fall is merely a preview of what is to come in the traditional fall/winter fashion week shows and thus does not realize they are missing anything.

It is also possible that the name pre-fall is not to blame. Resort shows likely get a decent amount of attention, not because the name resort is prettier than pre-fall, but because they belong to a more specific, obvious purpose (beach-going, cruising, etc.) and tend to be very distinctly summer-y compared to typical spring collections. In other words, resort shows give shoppers something that is more clearly missing from spring shows. Plus, U.S. Vogue Editor in Chief Anna Wintour reportedly wanted more resort shows this year {Fashionologie}, and her influence is large enough that she got her wish, which is likely another reason people pay more attention to resort than pre-fall.

So Kors is right that the pre-fall image needs some revamping. A name change may help, but educating consumers on the difference between pre-fall and fall/winter collections (and why they should pay attention to both) would likely be more of a game changer. The average person doesnâ€t always understand how fashion works simply because a lot of it is never explained.

Salma Hayek and Kate Moss try to reignite the trend of glamorous turbans

If youâ€ve got grey hair but no money for a dye job, youâ€ve ever dreamed of channeling Erykah Badu, you have frequent bad hair days or you just really hate washing and or styling your hair, you can now take advantage of the latest hair trend.

This week, The New York Times declared the turban is having a moment as a completely fashionable hair accessory. Actually, The Times said the turban was never really out of style but has been lying dormant for a few years and is now making a quiet but forceful comeback. We donâ€t really recall a time when turbans were ever that huge of a fad. Headscarves or hair handkerchiefs, yes. Turbans, not so much.

In any case, it does seem that the turban has made a quiet emergence as all the rage on fashion runways and in celebrity circles. Jason Wu used black and cobalt turbans in his spring collection, and Vena Cava sent models down the runway in them for their own show, while Giorgio Armani used North African-inspired turbans in his most recent collection. In the celebrity corner of the ring, Solange Knowles wore a Roberto Cavalli scarf as a turban to the Tom Ford show, and Salma Hayek rocked a navy and white printed one to the Stella McCartney show in Paris. {NYTimes}

“People didnâ€t bite when Miuccia Prada showed them a few years ago,” stylist June Ambrose told the Times, “but since then, itâ€s caught on.”

This may be yet another trend that supermodel Kate Moss started, as she was spotted wearing a turban at the Met gala in May of last year.

The Times claims ordinary women are embracing the trend as well with ladies in turbans turning up on the Web site Streetpeeper.

When used in dark neutrals like navy, grey and black, the turban definitely adds a certain edge to runway shows, but weâ€re not sure how easy it actually is to pull off on the streets. It takes a high amount of confidence to wear a headpiece like this, but if youâ€re feeling it, by all means rock that turban.

Americaâ€s Next Top Model

Among the things she said were that Karl Lagerfeldâ€s acceptance of plus-size models as the photographer for the plus issue of V is phony because he previously denounced full-figured women as irrelevant to fashion, and that plus-size models are not truly becoming a part of fashion just because a few select girls have been able to land a limited number of magazine covers and runway slots.

Fair enough, Whitney. There is absolutely nothing wrong with a plus-size model – or anyone for that matter – calling out fashion leaders for using full-figured girls as a spectacle and declaring plus-size is in when size 0 is still the norm.

Hereâ€s what weâ€re more concerned about. Check out this line she fed The Huffington Post:

“It’s infuriating because we have to be excited, we have to be thrilled that there’s one issue that has girls who eat.”

Not okay, Whitney. We understand that anorexia is a serious issue among many models and that poor health and body image among models is something of concern in the industry. That does not mean that every straight-size model does not eat. Some women are naturally very thin. They do not starve themselves or exercise obsessively or regurgitate everything they eat. That is just how their bodies are naturally formed, and it is beautiful and every bit as real as curves.

Standing up for equal treatment and inclusion for girls who are above a size 2 in the fashion industry is perfectly fine, but there is no need to put down women with those size 0-2 body types while you are doing it.

A fairly recent blog post over at the gloss could not have put this more perfectly. Check it out here. And think twice before declaring another woman unreal or unhealthy based on her body type, no matter what it is.

“McQ will become our responsibility alongside the core Alexander McQueen label, allowing us to share ideas and knowledge, expand the business and grow the already iconic brand,” President and CEO of Alexander McQueen Jonathan Akeroyd told WWD. “Over the past five years, McQ has established itself internationally with its young, renegade but always signature McQueen style and we are ready to take it to the next stage in its development.”

Speaking of development at Alexander McQueen, the label is enjoying wild success of late, as the highly anticipated first womenswear collection by newly appointed creative director Sarah Burton debuted with astounding praise from critics in Paris this month. Burton replaced Lee Alexander McQueen at the helm following his death earlier this year.

The general consensus among critics is that Burtonâ€s first collection was the perfect balance of respecting McQueenâ€s vision and adding personal, more feminine touches to advance the brand.

Hilary Alexander at the Telegraph said the collection included “elaborately-beautiful pieces which maintained the spirit of McQueen’s legacy, whilst injecting a new atmosphere of ethereal bohemian romance,” while Cathy Horyn at The New York Times said, “some references to the McQueen craft and drama are necessarily, but her choices reflected a gradual transition.”

At left, the closing look from Sarah Burton's first solo collection at Alexander Mc Queen. At right, designer Sarah Burton

Booth Moore at the Los Angeles Times noted that Burtonâ€s collection seemed more wearable than the typical McQueen line. He credited that to her status as a woman, saying the clothes, “didn’t have the tortured genius of the namesake designer … But the clothes may have been better for it.” He added that even though much of Burtonâ€s collection was typical McQueen, “Burton banished McQueen’s famously restrictive neckpieces, headdresses and hobbling shoes with a woman’s touch.”

What do you think of the collection? Perfect balance of McQueen and Burton, or would you have liked to see something else?

This week, it was reported that Jean Paul Gaultierâ€s Spring 2011 runway show invitations promised a collection that would “explore the contrast between XXS and XXL.” The Gossip Lead Singer Beth Ditto, who is a reported size 26, opened the show, which also included size 10 Crystal Renn, who has become a Gaultier favorite over the past few years. {Fashionista}

The Renn we have seen lately is as gorgeous as ever, but debatable in terms of actually being full figured outside of the fashion world. Letâ€s put that aside though, since models who are anything but size 0 are still a rarity on the runway.

Fashionista points out that few critics mentioned the inclusion of Renn and Ditto in the show. Crystal Renn walked Gaultier’s runway years ago when she was heavier, and the designer has had a diverse cast of models. Variety isn’t anything new for the designer, but we think Gaultier himself should have followed the critics’ example.

By announcing in advance of the show, on the invitation, that everything from XXS to XXL will be included – as if it were some sort of novelty or main feature of the event – Gaultier only furthers the idea that bigger women are more spectacle/trend du jour than a real part of fashion. Because if it were completely normal to see women in a range of sizes in any given runway show, no one would mention it anywhere at all.

Since size 0 models are the current norm, perhaps it’s a necessary ploy to inform plus sized shoppers that Gaultier offers designer fashion options beyond a size 10.

If the designerâ€s goal was to make a statement about the widespread use of size 0 models exclusively, he would have done better to just put a size 26 model and a size 10 model in his show and shut up about it.  We applaud the action, but if more designers let women in a wider range of sizes walk the runway without saying a word of it, it could be the true start of a new norm.