Colecții Alexander McQueen

Colecții Alexander McQueen
Graduation collection, Jack the Ripper Stalks his Victims, 1992 RTW
Taxi Driver, 1993
Birds, 1995, spring
https://www.vogue.com/fashion-shows/spring-1995-ready-to-wear/alexander-mcqueen
Highland Rape, 1995
The collection Highland Rape, which was in autumn/winter 1995 to 1996, is widely
considered to be the collection that established McQueen’s reputation internationally. At the time,
people thought the rape referenced the rape of women. But it was actually the rape of Scotland by
England. The collection actually referenced the Jacobite risings of the eighteenth century and the
Highland Clearances of the nineteenth century. (Andrew Bolton)
McQueen saw the Scottish heritage as rather bleak and rather brutal. In this particular collection,
you can see that actually manifested in the clothes themselves by the slashing of the garments.
There’s one particular dress, which is made out of green leather with a slash in the middle of the
dress, just at the breasts. And we actually used that conceit as part of the construction of this
gallery, where you’ll see a large gash created out of the wooden planks, which is a reference to
McQueen’s punkish attitude and also the deconstructionism that you see in the dresses in this
particular gallery. 1
The hunger 1996, spring
Dante, 1996 RTW fall
1
http://blog.metmuseum.org/alexandermcqueen/suit-highland-rape/
Dante was shown in a candle-lit church in Spitalfields, London with a skeleton seated front
row. Beauty and blasphemy were woven throughout this wide-ranging collection in which
Alexander McQueen experimented with denim and Victoriana, tropes that he would return to again
and again. 2
din 1996 lucrează și la Givenchy
La Poupée, 1997 RTW
Alexander McQueen put on a series of landmark shows in the late nineties, each one more
extreme than the next. But for sheer provocation, nothing topped spring 1997’s La Poupée, or The
Doll. Inspired by the artist Hans Bellmer, who fetishistically rearranged toy dolls, McQueen
experimented with proportion and, more disturbingly, trussed the models in various metal
restraints. His pal Kate Moss took to the watery runway in a pair of his derriere-exposing bumster
pants, the point of which, McQueen insisted, wasn’t to titillate. Rather, he said, “I wanted to
elongate the body, not just show the bum. To me, that part of the body—not so much the buttocks,
but the bottom of the spine—that’s the most erotic part of anyone’s body, man or woman.” 3
It’s a jungle out there, 1997 RTW
Models stormed the runway like feral beasts at Alexander McQueen’s Fall 1997 show,
which referenced H.G. Wells’s novel, The Island of Dr. Moreau, about a vivisectionist who creates
humanoids out of animals. Topolino turned hair into manes, and used makeup to give a glowering
feline aspect to models dressed in leather, acid-washed denim, and animal skins4.
Golden Shower show, renamed Untitled, 1998 RTW
While there was plenty of pain in Alexander McQueen’s work, there was usually pleasure,
and often some poetry as well. Such was the case with spring 1998’s Golden Shower show,
renamed Untitled when the sponsors balked at the lasciviousness of the former title. Models
walked down a runway made of water-filled Lucite tanks wearing tight snakeskin dresses and
2
https://www.vogue.com/fashion-shows/fall-1996-ready-to-wear/alexander-mcqueen
3
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tailored intarsia suits. They were dressed in all white for the finale and were treated to a shower
that made their mascara run and their all-white clothes see-through5.
Joan, 1998, RTW
Having explored the element of water, Alexander McQueen moved onto fire, closing his
Fall ’98 show with a model trapped in a ring of flames. Dubbing the show Joan, in reference to the
Catholic martyr, the designer made use of metal mesh; and he layered tragedy on top of tragedy,
printing the portraits of the Romanov children on dresses and tops. Adding to the drama was the
hair, or lack of it, and the red contact lenses. A hint of salvation was offered by Diana Ross, whose
words “You’re gonna make it, you’re gonna make it,” were played at the fiery finale6.
The Overlook, 1999, RTW
Despite the fact that it was inspired by The Shining, The Overlook was one of Alexander
McQueen’s most poetic collections. Presented inside a Lucite box, that imitated a Victorian-
themed snow globe, this wintry fantasy featured ice skaters, gorgeous chunky handknits, and warm
shearlings in a birch forest. As always, there was virtuoso tailoring; this show also featured
intricate patchworked pieces. A laser-cut silver metal skirt and a silver metal corset wowed with
their craftsmanship7.
No. 13, 1999, RTW
It wasn’t a fashion show. It was performance art. The models at __Alexander McQueen’__s
Spring 1999 outing navigated two robotic contraptions in clothes that felt decidedly lighter and
more sensual than his previous work, albeit every bit as fetishistic. Only when Shalom Harlow
emerged in a strapless broderie anglaise dress cinched across the bust with a leather belt did the
robots come to life. As she spun around on a circular platform, the robots, which were typically
used to paint cars, sprayed her in a carefully choreographed dance. When it was over, Harlow
practically stumbled into the audience8.
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Andrew Bolton: Mullins a deschis defilarea pe întuneric în black frock și wooden boots9,
deci McQueen folosea modelele pentru mai multe ținute. Când s-a aprins lumina, publicul a
recunoscut-o pe Mullins. Greeland Gibbons inspirație pentru sculptura în lemn a pantofilor. A fost
guest editor la Dazed & Confused – art director pentru un shoot cu Amy și alții cu dizabilități.
https://collections.vam.ac.uk/item/O83555/aimee-mullins-for-dazed-confused-photograph-
knight-nick/
Bolton: mcqueen, împotriva normative conventions of beauty. Pt el, corpul = sight of

contravention where normality was questioned and where marginality was both embraced and celebrated
(3:31) – Bolton.
Mcqueen was as a unique designer in his ability to make his audience react emotionally to his
runway performances.
Arhiva mcqueen în londra, atelierul mcqueen.
Expoziția savage beauty nu a fost o retrospective – mai mult eseu, poveste scurtă; a inclus echipa
lui mcqueen – raw memories. Vorbește despre procesul de a lucra cu ei – s-a apropiat greu de ei și de
încrederea lor pentru că erau foarte loiali lui McQueen. Jurnaliștii în schimb încercau să own his life and
indeed his death. Expoziția – mod de a grieve or mourn doliul. A sort of eulogy. Sarah Burton, + încă 2Ș
Trina (despre emoție )și … . Design process, working methods, technical aptitude. inspirations eclectic, at
times random.
Ca curator, recunoaște că a fost o expoziție subiectivă. Expo = an apologetic love poem to mcq.
A avut mai multe false starts pentru structura expoziției: de la contextualizarea modei lui mcq în
arta contemporană; legătura cu filosofia antropologului claude levi strauss; o prezentare cronologică-cel
mai adesea folosit când te uiți la opera unui artist într-un muzeu. În final, structura expo – conceptul
sublimului, legătura cu romanticismul.
De ce împotriva abordării cronologice: ideologic. Ca pentru mulți designer, strălucirea și

originalitatea lui mcq era inconsistentă. A produs și unele colecții mediocre - ar fi fost puse în evidență de
o cronologie.
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https://www.youtube.com/watch?v=bemPoSlIANo min 2:37
Puterea sa ca designer vine din provocările conceptuale regăsite în piesele teatrale fantasice
nepurtabile crate pentru runway. De la acestea s-a creat ideea că mcq e un artist și că creațiile sale erau
artă. Operele sale au rezonat artistic și emotional cu oamenii. O abordare aproape șamanistă asupra
materialelor, preferându-le pe cele aproape fetișiste – blană, piele, pene. Rochia care a deschis expo,
făcută din razor clams (scoici alungite). Materialele au provocat sentimente precum ambiguitate și
ambivalență în vizitatori. Bolton vorbește mult despre ceea ce au simțit vizitatorii în contactul cu aceste
imagini, mai ales la nivel formal, prin materialele folosite!
My shows aren't instead of a shrink, they're what come out of the sessions – mcq.
Showrile sale, anapologetic, autobiografice. Dar în expunere Bolton nu a inclus info biografice
pentru că viața sa a fost expusă în operele sale. Expuenrea sinelui, vulnerabilitatea, a rezonat cel mai mult
cu vizitatorii.
Criticii au descris expo ca blockbuster - termen ce nu ii place lui Bolton. Au fost scrise articole
despre succesul expoziției, factori precum morbid appeal of mcqs suicide – sigur, sinuciderea a adăugat
patos expoziției dar Bolton crede că e despre frumusețea sublimă și puterea emoțională emotional power.
A găsit creative power through his torments – ceea ce vedeai în operă era omul. Mulți s-au îmbrăcat pentru
expoziției, unii au creat replici pentru moda din expoziției (for the fashions in the exhibition). O fată a creat
o copie/facsimile a rochiei din scoici folosind hârtie igienică. Vorbește chiar despre public, despre orele
extinse ale muzelui, nr mare de vizitatori, despre viața cozii de oameni, unii s-au despărțit.
Eu The mould a devenit obiect de referinta pentru linia croielii sacourilor si a celorlalte bluze in
colecita No. 13. E practic greu sa diferentiezi daca inca a fost folosit mouldul sau s-a creat un tipar care sa
aminteasca de acel stil. Corpul a devenit imagine. Corpul a devenit imagine si model pentru alte haine.
Eye, 2000 RTW
With cheeky insouciance Alexander McQueen dropped trou at the end of his Spring 2000
show to reveal his stars and stripes boxers. Eye was shown in New York, on a pier on the West
side, and, once again, the models sloshed through water. They wore clothes that drew from active
sportswear, bondage, and the Middle East; Gisele, for one, wore a tasseled and embroidered head
covering with a metal-pailleted bodysuit. There was no ignoring the collection’s latent aggression
when spikes rose through the water. Over those frightening points soared acrobats in burka-like
shrouds, some striped red, others colored black, like good and bad angels10.
Eshu, 2000 RTW
Named for Eshu, the Yoruba spirit, the show paired African influences (neck rings) with
Victoriana (leg-of-mutton sleeves) to dramatic effect11.
Voss, 2001, RTW
Alexander McQueen's show was nothing short of monumental. The audience sat around a
mirrored cube, which, when lit from inside, revealed itself to be a mental-hospital holding cell.
Demented girls, wearing hospital headbands and everything from extraordinary mussel-shell skirts
to impossibly chic pearl-colored cocktail dresses, slithered and strutted while uselessly attempting
to fly over the cuckoo's nest.
McQueen was at his very best: There were gothic, theatrical pieces, like a dress with a
miniature castle and rat posing as a shoulder pad; a top made out of a jigsaw puzzle; and a huge
feathered creation with stuffed eagles suspended over the model's head, poised to attack à la
Hitchcock. But amidst all the insanity, there was a cornucopia of startlingly elegant—and
wearable—pantsuits, flouncy party dresses, and even a spectator pump or two.
How to top off such a climactic presentation? After everyone thought it was all over,
another cube within the psychiatric ward-cum-runway opened up to reveal a portly nude woman,
her face covered by a mask, breathing through a tube, surrounded by fluttering moths. It was a
truly shocking and enthralling tableau: Francis Bacon via Leigh Bowery and Lucien Freud. In a
word, sublime12.
What a Merry go Round, 2001 RTW
Colorful lights, a merry-go-round, the sound of children? Alexander McQueen's mise-en-

scène brought to mind family trips, fun and games, and maybe a couple of lighthearted mimes.
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But once the lights went down and the blaring soundtrack began, it became perfectly clear
that there was nothing even remotely candy-coated about his lascivious carnival crashers.
Cavorting and gyrati13ng around poles, a posse of hard-as-nails girls took over the stage wearing
shiny patent-leather jackets and jeans, scalloped coats and skirts, S&M overcoats, skintight leather
pants and ornate military jackets that would've put Napoleon to shame. A nearly naked princess
turned up in little more than a feathered headdress, a net gown and a few chains; her cohorts wore
frayed sweaters with giant skulls and bones, and long suit jackets that became dresses as they
wrapped around the body and then draped at the side.
When the frantic pace finally slowed down, it was to reveal an eerie backdrop of gigantic
stuffed animals, discarded dolls, puppets, balloons and ragged circus paraphernalia, out of which
several macabre characters emerged, wearing massive ruffles, centuries-old suits and beat-up lace.
The perfect accessory? One of McQueen's otherworldly creatures dragged around a golden
skeleton with her foot.
The Dance of the Twisted Bull, 2002, RTW
"The Dance of the Twisted Bull" was the title of Alexander McQueen's highly anticipated
collection, his first since partnering with Gucci Group and deciding to show in Paris.
McQueen pulled off a bravura, Latin-themed romp. One particularly theatrical dress came
equipped with banderillas—the long spears with which bullfighters pique bulls—that seemed to
impale the wearer in order to support a long ruffled train in the back. Another, a severely
deconstructed blood-red señorita dress, had part of a jacket attached at the waist, while a matador-
inspired strapless gown featured a built-in sword. An assortment of polka-dotted frocks were
layered over matching stockings, and cinched with corsetlike straps and holster-inspired tops.
Alongside these dramatic statements came plenty of carefully tailored, eminently wearable
clothes, deftly proving McQueen's ability to mix iconoclastic statements with commercially viable
product. Razored jackets were softened via seashell-like pleated skirts with gently upturned fronts;
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flared-sleeve eyelet shirts, layered skirts, and embroidered white jeans all looked confident, as did
the cut-out dresses and sharp-as-a-tack toreador suits14.
- Pălării toleador reinterpretate – albe, minimaliste.
Supercalifragilisticexpialidocious, 2002, RTW
Casting away all but one of his usual theatrical props, Alexander McQueen proved to Paris
that his design can stand on its own dramatically erotic strengths. Showing in the shadowy
medieval vaulted hall of the Conciergerie, McQueen couldn't resist a lone, macabre trick—a vista
of a pack of caged wolves, and the opening image of a lone figure clad in a purple leather cape
leading a pair of dogs (who looked more scared than scary). But that was just for old times' sake.
When his models stalked out in brown tweed, tailored to within an inch of their lives, and strapped
into variations on brown leather braces, it was clear McQueen was concentrating on clothes and
not theatrics.
His vixenish women had tiny-waisted silhouettes done with amazing attention to cut and detail.
Milkmaid necklines—far from innocent-were pushed up by leather bodices that curved down into
the tightest pencil skirts, and finished off with thigh-high leather boots. McQueen moved from that
Helmut Newton-esque fantasy to another—bad schoolgirls, who mixed lingerie and silver lamé
ties and skirts in with their proper blazers and duffels. For a splendid finale, he brought out
romantic flouncy skirts, an exaggerated puff sleeved black velvet coat and a skirt made of swags
of jet beading. Best of all, he's softened his sometimes severe hand so that the idea of wearing
these pieces seems not just possible, but quite appealing.
A trim McQueen took his bow in a bespoke suit made by the Savile Row tailors, Huntsman. It
seemed like a coming of age. "I wanted it to be romantic, beautiful," he said. "Power to the women!
I got fit for this and I worked hard for it."15.
Irere, 2003, RTW
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After joining Gucci Group and losing 30 pounds, the designer has shed his famously
macabre show tactics. The most shocking things about his summer presentation were its stripped-
down, old-fashioned romance and solid commercial appeal16.
Aspect nautic, pirați.
Scanners 2003 RTW https://www.youtube.com/watch?v=2lA3yB4TIvI
A glass wind-tunnel corridor bridging a snow-covered wasteland: that was the bleak
techno-meets-nature setting for Alexander McQueen’s mind trip for fall. “I wanted it to be like a
nomadic journey across the tundra,” he said. “A big, desolate space, so that nothing would distract
from the work.” The clothes, sculpted into his signature nip-waisted, stiff A-line skirt
silhouettes, exhibited all the intense craft and some of the shapes that he learned during his
stint at Givenchy couture. It bumped his ready-to-wear up to a new level, and if the plot—which
traveled through Eurasian ethnic into punk and on to motocross—wasn’t all that understandable,
the decorative impact made up for it. Fantastic details were lavished on dramatic structured
carapaces, embroidered, painted and mind-blowingly embellished to look like antique samurai
armor, Russian lacquered dolls and tribal ceremonial dress. Somewhere along the line, the stiff
pleated skirts segued into molded suits, done in jigsaws of two-tone checkerboard—the better to
show off the designer’s devilishly accurate cutting skills17.
Asiatic, samurai
Deliverance, 2004 RTW https://www.youtube.com/watch?v=3zh1EKdHh4c
It takes a showman like Alexander McQueen to get the lifeblood pumping back into
fashion performance. His show—staged in the Salle Wagram, a nineteenth-century Parisian
dance hall—was an exuberantly hilarious reenactment of Sydney Pollack's Depression-era film
They Shoot Horses, Don't They? Choreographed by Michael Clark over two weeks of intensive
rehearsals in London, the narrative involved dancers, models, and audience in a visceral
celebration of exquisitely glamorous clothes.
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In the opening scene, the girls entered—dancing for all they were worth on the arms of
muscle-bound sailors and hunky hopefuls—dressed in fishtailed silver lamé, figure-hugging cha-
cha dresses, and show-stopping gowns with spangled bodices and huge feathered skirts. Other
competitors whirled on wearing pink corseted tulle tutus over gray ballet sweats; mint satin tap-
suits; or a slinky confection of gray checkerboard chiffon. A Billie Holiday look-alike,
dramatically vamping in pink charmeuse and ostrich, vied for attention as flashy bodysuited
showgirls were energetically twirled aloft by their partners.
McQueen's signatures—elaborately pieced tailoring (now beautifully softened with

delicate inserts of lingerie) and body-hugging denims spliced onto nude tulle—also did star turns.
The pace picked up even further in the elimination race, in which morphed-together fluorescent
chiffons and sports pieces ran hell-for-leather (on impossibly high heels) in a hotly contested dash
around the room.
There was even an opening for daywear. Blue-collar marathon survivors staggered out
wearing plaid shirts, coats, and skirts made from quilts and recycled patchworks of shirting
material, all crafted to the McQueen sex-bomb template. The show reached its climax as a lone
exhausted dancer in a silver sequined gown mock-expired center stage. As she was carried off by
the designer and his choreographer, thunderous applause rocked the hall18.
Modelele au dansat, au laergat, s-au târât!
https://www.youtube.com/watch?v=aHLso2g7HXU cu sunet
Pantheon As Lecum, 2004 RTW https://www.youtube.com/watch?v=pUy-MHjcDfI
It's only understandable that if the man who's been at the eye of the whirlwind of
negotiations about taking up the reins at Yves Saint Laurent might have been thrown into
an emotional spin. As we now know, Alexander McQueen turned down the offer, saying that it
was far more important for him to concentrate on his own label. But although his fundamental
instincts may be sound, the pain, strain, and self-questioning of recent weeks showed in this
collection.
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McQueen's intention, he said, was to strip away "all theatrics and focus purely on
design." In one way, his declaration is right on: Fashion, hedged about with so much
overcomplicated stuff, does feel in want of a good, rigorous cleansing. Perhaps that's why the show
looked like a strange kind of rebirthing. His first model, in flesh-pale slippery jersey from top to
toe, looked like an embryonic alien being, stepping with horrible vulnerability from a spacecraft
onto a kind of landing pad. She led out a parade of similarly nude-colored outfits in tweed, double-
faced cashmere, leather, jersey, and chiffon, in which McQueen seemed to be trying to summarize
the essence of his design identity. He pared it down to some of his familiar shapes—jumpsuits,
molded hourglass coats, nipped-waist suits—all shorn of the elaborate fabrics and embroideries of
past seasons. The best of his coats was an ivory swing-skirted shearling, one of the most believably
commercial items in the collection.
Yet, throughout there was a sense that the audience was waiting for the moment when this
sci-fi-accented show would take off in the usual, thrilling, turbo-charged McQueen manner. A
couple of frosted Mongolian-lamb hooded jackets almost did it, but then the mood subsided again
into evening, where the long jersey draped dresses looked as if they might have been designed
in a mood when McQueen's mind really had been turned toward Saint Laurent. It was a
pity—if only human—that the collection didn't quite live up to expectations at such a crucial
time for McQueen. But then again, this is fashion. There's always next season. – Sarah Mower a
scris o aprte din ultimele recenzii. Destul de critică19.
spring 2005 RTW Menswear PÂNĂ ACUM, WOMEN ȘI MENSWEAR

PREZENTATE ÎMPREUNĂ! CE S-A SCHIMBAT E PROBABIL ÎN INDUSTRIA
MODEI/CAUTĂ
In the current climate, pairing "desert" and "army" would seemingly lead to one
inescapable conclusion. But the crop-haired soldiers Alexander McQueen sent down his spring
runway were more World War II desert fox than twenty-first-century jarhead. Maybe that's not so
unexpected—there's always more romance in the past, and McQueen is one of fashion's most
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romantic designers. So his patchwork camouflage shorts appeared over a henna-tattooed body
stocking, and he put a poncho cut from camouflage netting over sequined leggings.
McQueen's use of color was startling—into a landscape of army green and sand tones, he
threw sudden shocks of acid yellow or hot pink. (One of his stunningly bright silk jumpsuits came
complete with matching gas mask). He even summoned a genie, his face and body dyed blue, in
an incongruous—if perfectly cut—brown suit. But the dramatics couldn't overshadow the true
power of McQueen's tailored pieces. What he's mastered with his menswear is an easy, instinctive
sensuality that is often missing from his women's collections20. – pentru menswear.
20
https://www.vogue.com/fashion-shows/spring-2005-menswear/alexander-mcqueen
It's Only a Game spring 2005 RTW womenswear
“It was a lot of McQueen, all in one big collection.” Thus spake the designer after a
performance that came across as a positioning statement—in more ways than one. The presentation
summed up all his experience in sharp tailoring, spectacular romantic dresses, couture richness,
and downright showmanship. And, with every look laid out on a giant chessboard, it couldn’t help
but suggest a metaphor for the workings of the fashion industry.
The chess device allowed McQueen to redo all his greatest moments, but in a prettier,
lighter, more accessible way. He used the 1975 film Picnic at Hanging Rock to work a girlish
Edwardian theme, starting with tiny sailor jackets, school blazers, ticking-striped shirts, and gray
knee-length shorts, then adding lovely white lace blouses and dresses. From there, it was onto the
eighteenth century, in the form of precious flower-embroidered jackets over candy-striped puffball
skirts, and dreamy floral chiffon dresses floating from Empire bodices.
By the time the 36 models had taken up their positions, reminders of all McQueen’s past
signatures and silhouettes were in place: the Savile Row-sharp tail coats; richly embroidered
Japanese kimonos; streamlined sci-fi bodysuits; rigid molded corsets; and stiff, flounced godet
skirts. En masse, it was very impressive. And even if this comprehensive résumé didn’t move his
game along, most of the ideas had benefited from the designer’s revisions. They looked even better
second time around: more feminine, less aggressive, and much more desirable.21
Inițial, aspect white cube, alb imaculat, minimalist. Tablă de Șah creată din lumini pe care
se așează modelele.
Corsetele sunt folosite din nou. Body cast. Imobilitate.
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Fall 2005 Menswear 22- SE POATE FACE O SELECȚIE DOAR PENTRU WOMENWEAR
The Man Who Knew Too Much Fall 2005 Womenswear
https://www.youtube.com/watch?v=8UULoXRpyxo
Tippi Hedren and Marilyn Monroe. Biker molls and sweater girls. You got it: Alexander
McQueen went to the sixties, all the way, for fall. With its filched movie and rock 'n' roll themes,
the collection read as a knowing vehicle, a McQueen director's cut. Glacially restrained tailoring,
early rocker chic, the classic Hollywood ball gown moment: He had 'em all. Plus great hair, great
music, and a roar of old-school glamour.
But there's no such thing as a McQueen routine without a sinister psychological subtext or
two. Was there a hint in the invitation—a pastiche of the film poster for Vertigo, superimposed
with the title of another Hitchcock movie, The Man Who Knew Too Much? What McQueen knows
shows aplenty. His combined knowledge of Savile Row tailoring and Parisian couture means he
can scissor an impeccably narrow gray tweed coat or a nipped-waist pencil skirtsuit, and put sizzle
into period sobriety. The same goes for his showstopper Charles James-meets-Marilyn evening
gowns, with their strapless sculpted fishtails and "Happy birthday, Mr. President" spangles.
But there's an underlying strain in all this knowingness, too. At a time when fashion
demands commercial reality, theatrics alone can't carry a show. McQueen, perhaps with a weary
sense of show 'em what they want, also put out a lot (Navajo blankets, tasseled suede circa The
Misfits), which turned parts of the presentation into a merchandise run-through of dubious taste.
A cynical trotting out of an overextended theme isn't what the fashion world expects of Alexander
McQueen. We know; he knows: He's bigger than that. So was that why, to the sounds of Elvis
echoing through the hall, he left the building without comment?23
Spring 2006 Menswear RTW
22
https://www.vogue.com/fashion-shows/fall-2005-menswear/alexander-mcqueen
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Spring 2006 Womenswear RTW
Alexander McQueen has changed. The commanding impresario who once took delight in
scaring and astonishing his audience with stadium-filling shows and designing at the brink of
scandal has—if we're to judge by the past two seasons—joined the regular ranks of ready-to-
wear designers who line up their models like soldiers and march 'em on out with the
collection.
What that leaves us with is a clear view of clothes. Black suits, to start with—and though
you couldn't exactly call them straight, something's changed in the cut of their jib, too. For spring,
McQueen's signature tailoring has lost its exaggerated waist and jutting shoulders, and been
replaced by more-wearable spencers with buttoned-back lapels. Beneath, he shows short flippy
skirts, shorts, or pants with black opaque tights. There's a faint girl-rocker air about them—and a
cape with a silver-beaded phoenix on the back somewhere in there—but nothing to scare the
horses.
For night, the part of the show McQueen said was inspired by Greek goddesses, things took
a turn for the disappointing—tiny pleated silver lamé dresses, white crystal-beaded gowns and
pieces made in bandage wrappings of white or gold elastic. The slot formerly occupied by his
showstopping extravaganzas is now serviced by metalwork body costumes with all the finesse of
something left over from an eighties sci-fi TV series. Gone, even, are the staggeringly made,
couture-grade fantasy gowns that have brought so many brides banging on his door. Though some
of his moves are clearly being made in an effort to sell—no criticism in itself—this show, from a
designer whose capabilities have won such respect, was a letdown24.
Aici a purtat t-shirt WE LOVE YOU KATE.
Fall 2006 Menswear RTW
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Fall 2006 Womenswear RTW
Only Alexander McQueen could provide the astonishing feat of techno-magic that ended
his show. Inside an empty glass pyramid, a mysterious puff of white smoke appeared from nowhere
and spun in midair, slowly resolving itself into the moving, twisting shape of a woman enveloped
in the billowing folds of a white dress. It was Kate Moss, her blonde hair and pale arms trailing in
a dream-like apparition of fragility and beauty that danced for a few seconds, then shrank and
dematerialized into the ether.
This vision was in fact a state-of-the-art hologram—a piece by the video maker Baillie
Walsh, art-directed by McQueen. The gown, a pale cascade of multiple organza ruffles, wasn't just
an optical effect, though. It subsequently reappeared in the collection's victory line up, which
wound its way around the glass box as the audience was still reverberating with wonder at
witnessing this incredible event.
The quality of the performance—and the extraordinary workmanship in the clothes that
preceded it—was a timely reconfirmation of McQueen's unique powers as a showman-designer,
and a far cry from the more straightforward presentations he¿s given the last few seasons. For this
collection, he delved into his past, revisiting his Scottish family roots and refining the contents of
the rampaging tartan "Highland Rape" show with which he began his career in London in the early
nineties. Shorn of its original rawness and anger, the result was a poetic and technically
accomplished tale that involved romantic images of Scottish fantasy heroines wandering glens and
castle halls in vaguely Victorian tartan crinolines, bird-wing or antler-and-lace headdresses,
feathered gowns, and pieces made from brocades that might have been dragged down from ancient
wall-hangings.
Some of McQueen's references—like the ones that influenced his sinuous black velvet
dresses—appeared to be culled from pre-Raphaelite paintings of Lady Macbeth; others, like a
fierce, bell-skirted warrior-woman plaid dress with lace armlets, seemed to owe more to punk. On
the down-to-earth side, there was plenty of McQueen's sharp and salable tailoring on show, and
some great coats, like a herringbone fur chesterfield. At the end, though, the ecstatic applause was
primarily in honor of the experience—a memory that will go down as one of fashion's all-time
highs25.
https://www.vogue.com/fashion-shows/fall-2007-ready-to-wear/alexander-
mcqueen/slideshow/collection
https://www.vogue.com/fashion-shows/resort-2009/alexander-mcqueen + plus +
https://www.vogue.com/fashion-shows/spring-2009-menswear/alexander-mcqueen
Alexander McQueen showed his women's pre-spring collection on the runway

alongside his Spring menswear "because they both go into the shop together," but also to
mark the season's commercial importance. How reassuring to hear from the designer that 60
percent of his business comes from these gorgeous, uncompromising outfits. There have been
times when McQueen seemed like the new Charles James, but here, he was all about Travis
Banton—the Hollywood costume designer who made Marlene Dietrich into a goddess. "Über-
partying, über-glamour" was McQueen's theme. His always acute tailoring flawlessly contoured
jackets and jumpsuits to the body (an all-in-one tux had nouvelle Marlene all over it). Bias-cutting
and draping produced impactful party dresses. The chiffon that veiled fishtailed dresses was
exquisitely embroidered with koi or hummingbirds. And the designer insisted that a heavily beaded
holographic sheath reminded him of Natasha Henstridge's second skin in Species. It wouldn't be
McQueen without a horror-movie moment.
25
https://www.vogue.com/fashion-shows/pre-fall-2009/alexander-mcqueen - nu e o prezentare, pre-fall
https://www.vogue.com/fashion-shows/resort-2010/alexander-mcqueen
Resort…
https://www.highsnobiety.com/2017/05/22/why-are-resort-cruise-pre-collections-important/
https://en.wikipedia.org/wiki/Resort_wear
http://thefashionarchive.blogspot.com/2010/03/alexander-mcqueen-archive.html - colecțiile
cronologic.
https://www.vogue.com/article/alexander-mcqueen-nineties-shows
Expoziția Savage Beauty organizată la Met în 2011.
http://blog.metmuseum.org/alexandermcqueen/

Colecții Alexander McQueen

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Colecții Alexander McQueen

Taxi Driver, 1993

Birds, 1995, spring

Highland Rape, 1995

The hunger 1996, spring

Dante, 1996 RTW fall

din 1996 lucrează și la Givenchy

La Poupée, 1997 RTW

It’s a jungle out there, 1997 RTW

Golden Shower show, renamed Untitled, 1998 RTW

Joan, 1998, RTW

The Overlook, 1999, RTW

No. 13, 1999, RTW

Bolton: mcqueen, împotriva normative conventions of beauty. Pt el, corpul = sight of

Arhiva mcqueen în londra, atelierul mcqueen.

De ce împotriva abordării cronologice: ideologic. Ca pentru mulți designer, strălucirea și

Eye, 2000 RTW

Eshu, 2000 RTW

Voss, 2001, RTW

What a Merry go Round, 2001 RTW

Colorful lights, a merry-go-round, the sound of children? Alexander McQueen's mise-en-

The Dance of the Twisted Bull, 2002, RTW

- Pălării toleador reinterpretate – albe, minimaliste.

Supercalifragilisticexpialidocious, 2002, RTW

Irere, 2003, RTW

Aspect nautic, pirați.

Scanners 2003 RTW https://www.youtube.com/watch?v=2lA3yB4TIvI

Deliverance, 2004 RTW https://www.youtube.com/watch?v=3zh1EKdHh4c

McQueen's signatures—elaborately pieced tailoring (now beautifully softened with

Modelele au dansat, au laergat, s-au târât!

Pantheon As Lecum, 2004 RTW https://www.youtube.com/watch?v=pUy-MHjcDfI

spring 2005 RTW Menswear PÂNĂ ACUM, WOMEN ȘI MENSWEAR

Corsetele sunt folosite din nou. Body cast. Imobilitate.

The Man Who Knew Too Much Fall 2005 Womenswear

Spring 2006 Menswear RTW

Aici a purtat t-shirt WE LOVE YOU KATE.

Fall 2006 Menswear RTW

Alexander McQueen showed his women's pre-spring collection on the runway

https://www.vogue.com/fashion-shows/pre-fall-2009/alexander-mcqueen - nu e o prezentare, pre-fall

Expoziția Savage Beauty organizată la Met în 2011.

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