Alexander McQueen (British, 1969–2010) Ensemble Widows of Culloden, autumn/winter 2006–7 Dress of McQueen wool tartan;...
(06/04/11) Alexander McQueen (British, 1969–2010) Ensemble Widows of Culloden, autumn/winter 2006–7 Dress of McQueen wool tartan; top of nude silk net appliquéd with black lace; underskirt of cream silk tulle Courtesy of Alexander McQueen Photography by Sølve Sundsbø Andrew Bolton: Sarah Jessica Parker wore a variation of a dress from McQueen’s Widows of Culloden collection to the opening of Anglomania, an exhibition celebrating British fashion here at the Met. McQueen was her date, and he wore a kilt of matching tartan. Sarah Jessica Parker: I said, “I would be so honored to wear your family tartan and walk up the steps of the Met with you.” So that’s really where it began. Andrew Bolton: What was it like being fitted by him? Sarah Jessica Parker: Well, I always describe it as one of the really great, memorable experiences of a lifetime because I think by the time I met him in person, I had been exposed to a nice amount of fashion. So I had started, at that point, to understand what went into...See less
available at blog.metmuseum.org
“[This] collection is . . . romantic but melancholic and austere at the same time. It was gentle but you could still...
(06/04/11) “[This] collection is . . . romantic but melancholic and austere at the same time. It was gentle but you could still feel the bite of cold, the nip of the ice on the end of your nose. . . . With bustles and nipped waists, I was interested in the idea that there are no constraints on the silhouette. I wanted to exaggerate a woman’s form, almost along the lines of a classical statue.”See less
Alexander McQueen (British, 1969–2010) Ensemble The Girl Who Lived in the Tree, autumn/winter 2008–9 Coat of red silk...
(06/04/11) Alexander McQueen (British, 1969–2010) Ensemble The Girl Who Lived in the Tree, autumn/winter 2008–9 Coat of red silk satin; dress of ivory silk chiffon embroidered with crystal beads Courtesy of Alexander McQueen Photography by Sølve Sundsbø Andrew Bolton: This crimson coat and delicate empire-waist dress culminated a collection from 2008–9, inspired by the queens of England. As Sarah Burton explains: Sarah Burton: It’s an enormous volume of fabric that at the neck is all bulleted and at the hem is all bulleted. But although it’s duchess satin, it still appears very light. And I think he wanted this sort of, you know, this regality but a lightness to it. Andrew Bolton: The collection, called The Girl Who Lived in the Tree, was dreamy and romantically nationalistic, albeit tinged with irony. Sam Gainsbury produced the runway show for the collection, which featured an enormous tree wrapped in transparent grey silk: Sam Gainsbury: Mostly Lee would have a very clear idea of who the girl...See less
Andrew Bolton: One of the highlights in this gallery is a dress called the “Oyster” Dress, which is made up of hundreds...
(06/04/11) Andrew Bolton: One of the highlights in this gallery is a dress called the “Oyster” Dress, which is made up of hundreds and hundreds of layers of silk organza, almost like a mille-feuille pastry. And the collection told the story of a shipwreck at sea and the subsequent landfall in the Amazon, and it was peopled with pirates, conquistadors, and Amazonian Indians. And I think that what’s interesting about this particular dress is you see how McQueen evolved as a designer in terms of the fact that he was always well known as a tailor. With this particular dress, you see a much softer approach. As Sarah Burton explains: Sarah Burton: He wanted this idea of it—was almost like she drowned—and the top part of the dress is all fine boning and tulle, and the chiffon is all frayed and disheveled on the top. The skirt is made out of hundreds and hundreds of circles of organza. Then, with a pen, what Lee did was he drew organic lines. And then all these circles were cut, joined together, and then...See less
“Remember Sam Taylor-Wood’s dying fruit? Things rot. . . . I used flowers because they die. My mood was darkly romantic...
(06/04/11) “Remember Sam Taylor-Wood’s dying fruit? Things rot. . . . I used flowers because they die. My mood was darkly romantic at the time.”See less
Sarah Burton: I think with Plato’s Atlantis, it was real perfection the way he executed every single piece. But knowing...
(06/04/11) 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.See less
Alexander McQueen (British, 1969–2010) Dress VOSS, spring/summer 2001 Red and black ostrich feathers and glass medical...
(06/04/11) Alexander McQueen (British, 1969–2010) Dress VOSS, spring/summer 2001 Red and black ostrich feathers and glass medical slides painted red Courtesy of Alexander McQueen Photography by Sølve Sundsbø Andrew Bolton: This particular dress came from a collection called VOSS, which was all about beauty. And I think one of McQueen’s greatest legacies was how he would challenge normative conventions of beauty and challenge your expectations of beauty—what we mean by beauty. This particular one is made out of ostrich feathers dyed red. And the glass slides are actually microscope slides that have been painted red to give the idea of blood underneath. And there’s a wonderful quote in association with this dress, where he talks about how there’s blood beneath every layer of skin. And it’s an incredible, again, very powerful, powerful piece.See less
Alexander McQueen (British, 1969–2010) Ensemble Autumn/winter 2010–11 Dress and glove of printed silk satin; underskirt...
(06/04/11) Alexander McQueen (British, 1969–2010) Ensemble Autumn/winter 2010–11 Dress and glove of printed silk satin; underskirt of duck feathers painted gold Courtesy of Alexander McQueen Photography by Sølve Sundsbø Andrew Bolton: When Alexander McQueen died in February of 2010, he left this collection, called Angels and Demons, unfinished in his studio. Sarah Burton, McQueen’s chief designer for many years, helped to complete it. Sarah Burton: It was very much inspired by handcraft and the idea that in a way in our culture there’s the loss of the artisan, the loss of people doing things with their hands and making beautiful artisanal clothing or carvings or paintings or sculpture. And he looked at all the old masters and he looked at sort of medieval arts and religious iconography. It was almost looking at the Dark Ages and finding that there was a light in the Dark Ages. There was still a modernity in the way that the fabrics were developed. So, for instance, there’s a dress with a...See less
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