On Sunday evening, Sarah Burton brought her fall/winter 2016 collection for Alexander McQueen back to the brand’s home, London, where the brand is showing for the first time in a long time.Earlier this month, Burton explained her relocation choice to Porter magazine , saying: “McQueen is fundamentally British and London is where it’s based and where we all live and work…There’s a freedom of expression in London that makes it feel right.” And it was clear that this homecoming (held six years and eleven days after Lee [Alexander] McQueen died) took the idea of self-expression quite seriously.The show was set in a venue where Burton worked with McQueen himself 20 years ago, and the latest collection seemed like somewhat of a continuation of the unapologetically feminine offerings from last season, with a plethora of pink lips, flowers, and butterflies — typical, almost saccharine symbols of womanhood. This time, however, they were toughened up, embroidered onto the lines of black leather coats and deep V-neck dresses, and transformed into badges of honor. There were hints and nods to hardness with fetishistic netting, leather bustiers, and heavy-buckled trousers and chains. Burton offset the balance by playing with masculine tailoring — deconstructing tuxedo jackets, for example, so that the lapels were slung over the chest like Miss World sashes.And while there was a lot of black, the mood was overwhelmingly pretty: Billowing dresses came in delicate chiffons, satins, and lace in light colors, and the final looks were full-length gowns, encrusted with crystals. Models even wore princess jewels and tiaras in their hair.Though there wasn’t the theater or provocation one might hope for with a comeback show, there was a lot to take in — particularly the five standouts below. The London production was, however, sheer beauty at its finest — a womenswear collection desirable enough to dream about, and unattainable enough to still feel like a dream.If you recall McQueen's fall 2006 or spring 2008 collections (the latter of which paid homage to Isabella Blow), you know that butterflies are not a new motif for the house. But the iteration of the fluttery insect this time around was less three-dimensional (with the exception of the final look ); instead, they sat printed on coats and separates, and hid amongst the lace of minidresses and gowns.