THE OVERLOOK

Continuing his reign of success, McQueen once again turned his attention to the film industry to source inspiration for his A/W 1999 collection ‘The Overlook’ (which can be seen in full here). Named after the hotel in Stanley Kubrick’s horror classic ‘The Shining’, the show was full of references to the spooky film – most notably, the staging was an almost exact replica of one particular scene in which the protagonists flee the hotel and end up trapped outside surrounded by mountains of snow. Encased in a giant glass box, models recreated the scene perfectly as they walked around a frozen ice rink that resided directly in the middle of the runway, creating a winter wonderland that marks one of McQueen’s most impressive sets to date.

NO. 13

After revisiting the past with his ‘Joan’ collection, McQueen moved swiftly towards the future with his next collection, entitled No. 13 (see the full thing here). The show was one of his most expensive to date, staged on a sprawling runway which featured revolving platforms built into the floor, as well as two ominous-looking automatic paint machines which took centre stage. Taking the codes of the McQueen aesthetic and reinventing them appeared to be the designer’s main prerogative – there were plenty of looks which were pulled from the archive and reimagined, bringing them firmly into the future.

The ‘future’ element of the aesthetic came primarily down to fabric choice. Metallic silver was ubiquitous throughout much of the collection, and McQueen also experimented with what appeared to be several mirrorballs that had been pulled apart and fashioned into a halterneck bodice which jutted forward dramatically, barely covering the model beneath it. The classic full-length tux jacket was recreated in reflective silver material and covered in thick black pinstripes, whereas the chainmail dress from Joan (a short gown with a plunging backline) saw its silhouette replicated exactly in the same futuristic fabric.

JOAN

In the world of fashion, it isn’t unusual for designers to base an entire collection on one influential woman. It also isn’t unusual for designers to source inspiration from history. However, it is more unusual for a designer to manage to successfully tell a story with their collection but with his A/W 1998 collection ‘Joan’ (see in full here), Alexander McQueen achieved just that. Speaking in an interview, the designer explained “I don’t really get inspired by specific women, it’s more in the minds of women in the past. People where were doomed, Joan of Arc or Colette. Iconic women."

The make-up for the show itself was extremely severe, and loosely based on McQueen’s own make-up for a photoshoot with Nick Knight for the iconic ‘The Face’ magazine. Eyebrows were shaved, eyes were fitted with blood-red contact lenses and heads were shaved and decorated with a succession of intricate braids which wrapped around skulls and led into a cascade of flowing blonde hair. The two opening looks matched the severity of the make-up – both were engineered in chain mail and whilst the first was a short look with a plunging backline, the second was a classic full-length gown that elegantly swept along the sparse runway. The aggressive chain mail material marked the beginning of Joan’s story, representing the armour that she wore as a military leader.

THE GOLDEN SHOWER

Generating controversy before it even took place, McQueen’s S/S 1998 collection ‘Untitled’ (previously entitled ‘The Golden Shower’ until a financial backer threatened to pull out - see the full show here) was shown in a London bus depot and featured then-rookie models such as Jodie Kidd and Kate. The show has since become one of his most celebrated, mainly for its balance of commercial appeal and grandiose spectacle but also for launching the career of ‘The Body’ herself, Gisele.

Gisele, The Golden Shower.

The show opened in traditional fashion with a series of beautifully-tailored trousers and suit jackets which nipped in at the waist and curved around the chest. It was here that the McQueen established one of the main colour themes of the collection – yellow and gold were both prominent throughout (a reference to the ‘Golden Shower’ title), most notably in a series of gold chain halter tops that more closely resembled body jewellery than an actual garment. There was also experimentation with animal print (one which McQueen had tackled in his previous collection) in the form of a snakeskin pencil skirt made from what appeared to be PVC, a piece which was surprisingly wearable when teamed with a black pinstripe suit jacket that jutted open at the back.

IT'S A JUNGLE OUT THERE

With its corrugated iron backdrop and thumping techno soundtrack, “It’s A Jungle Out There” (which can be seen in full here) is possibly McQueen’s most industrial collection to date. It is interesting that when giving interviews on the collection, the designer stated that the mood of the show was based on the Thompson’s gazelle – elaborating, he explained that “it’s got these dark eyes, the white and black with the tan markings on the side, the horns – but it is the food chain of Africa. As soon as it’s born, it’s dead. You’re lucky if it lasts a few months, and that’s how I see human life; in the same way. You know, we can all be discarded quite easily. You’re there, you’re gone – it’s a jungle out there". 

LA POUPEE

McQueen continued his streak of success with his S/S 1997 collection, La Poupée (which can be seen in full here) – a collection inspired by the work of twisted German puppeteer Hans Bellmer, renowned for his freaky female mannequins who were often contorted or deformed. Considering that Bellmer’s work was designed to oppose Nazi definitions of beauty, the fact that McQueen was inspired by the artist seems natural; both tend to work within the realm of the grotesque and the mutated, and both take pleasure in rebellion. 

Staying true to his signature showmanship, the designer crafted an extraordinary set which featured a flight of steps leading down to a flooded runway. The models all had blunt fringes cut to highlight cheekbones which were almost artificial in their severity, whilst their eyes were surrounded by bold sweeps of metallic silver eyeshadow. Many of the girls also wore heavy facial jewellery in the form of protruding spikes or silver cylinders which orbited the face, whereas the African model Debra Shaw created the most memorable imagery of the show by attempting to walk the runway whilst shackled with metal body jewellery. As usual the press rushed to create controversy, stating that a black woman in chains had to represent slavery – as usual the press were wrong, and McQueen chose the outfit because he liked the delicate way that it made the model walk, somewhere between demented and beautiful.

DANTE

Part of me feels like I should apologise (this is, after all, my second McQueen post in the past four days), but I recently got McQueen's Savage Beauty book and feel like, only being 20, I only really got into fashion a few years ago and there are so many incredible collections that this book has made me aware of. As with all the best McQueen collections Dante contains a strong concept, historicism, several references to religious iconography and, of course, beautiful clothes. Based on the conflict between Heaven and Hell, the collection represents the divine contrast by using white lace,intricate florals and lilac silk to juxtapose black leather and bleached denim. Although the two ideas are usually presented as separate looks, one of the highlights of the show saw a delicate lace top which extended to completely cover the models face, half of which was gripped by a skeletal claw, adding the classic McQueen reference to the grotesque. As the show progressed McQueen's representations of the dark side continued to become more and more literal until one model walked the runway covered head-to-toe in a black lace veil which, when strewn over a pair of reindeer antlers, created a striking portrayal of the animalistic nature of "Dante". 

Lace corset used in Dante, shown at the Savage Beauty exhibition

THE HUNGER

After the controversy surrounding ‘Highland Rape’, McQueen decided to move towards a less relatable concept for his following collection, ‘The Hunger’ (which can be seen in full here). The overarching inspiration for this collection was vampires – the inspiration arguably extends to macabre imagery in general but the collection seemed more about vampires than anything else as it focused on the fetishisation of the body, the hunger for flesh. Many argued that McQueen was already rehashing old ideas, and it is true that nudity wasn’t exactly new ground for the designer, but the approach to the nudity was different – it showed the naked body in an almost cannibalistic way, and there was a kind of perversion and aggression to the way that the models flaunted their skin, unlike the vulnerable, threatened girls that we saw in ‘Highland Rape’.

HIGHLAND RAPE

McQueen has always been a designer whose concepts and imagery have courted media controversy. Sometimes (especially with the provocative imagery at the start of his career) this controversy is deliberate but this A/W 1995 collection, entitled ‘Highland Rape’ (see the full show here), is possibly the best example of McQueen’s vision being misinterpreted and sensationalised by the media. Upon seeing the collection, journalists clambered over each other to be the first to denounce the designer as a ‘misogynist’ – an insensitive idiot glorifying rape to gain media coverage. The backlash was enormous, and it was only when the designer began to give interviews on the collection’s real meaning that the press began to thaw. The collection was not a testament to rape – instead it was a visual commentary on England’s violation of Scotland.

THE BIRDS

McQueen’s S/S 1995 collection, ‘The Birds’ is arguably one of his most underrated – there are few pictures of the collection available online and the video of the full show is near impossible to find (although I finally did manage to find it here!) The lack of buzz around this collection is mystifying in a way, as it was the first to feature the bird motif that would soon become a signature of McQueen’s macabre aesthetic; it also featured reincarnations of both the painted evening tuxedos and the shrinkwrap dresses, both reimagined in a striking black and white colour palette.

The collection itself was slicker than usual – the colour palette veered between monochrome and flame red with the occasional sprinkle of metallic, and the silhouette and cut of the fabric were both razor-sharp. Models walked the runway with cropped punk hairdos in a multitude of colours with a badass attitude and tyre-prints stamped menacingly on their bare chests; the juxtaposition of delicacy and aggression is one that McQueen knows so well.

BANSHEE

For his A/W1994 collection (see it in full here), McQueen decided to look to the ocean for inspiration. Citing Irish folklore, he described the title of his Banshee collection as a reference to the wailing song that banshees would sing, and this reference was particularly evident in the uncharacteristically ethereal opening looks. The show’s soundtrack began with a wailing song as models walked the runway in floor-length gowns of organza, with layers that mimicked the waves of the ocean. Fishnet dresses draped over models that looked like mermaids captured by fishermen, and the small ruffled edges of one gown looked like tiny sea anemones. Even the first three minutes weren’t short of controversy – a pregnant skinhead in a beautiful black gown walked the runway, ‘MCQUEEN’ emblazoned upon her shaven head, a look which was a nod back to his signature contrast of beauty and aggression.

Montage, McQueen A/W1994

Then, the mood started to change. The wailing song was replaced by a thumping techno beat and the first flashes of crimson marked a shift towards provocation. The first clue came in the lyrics of the soundtrack (“You wanna fuck? Let’s go!”), and it soon became apparent that these banshees were feeling horny. Models walked the runway with a seductive smile, winking cheekily at the fashion press as they hitched up their skirts to reveal the PVC undergarments that lay beneath. Shaggy knitwear was fitted with sheer panels that left nipples exposed and even tailored suits were worn with sheer lace tops underneath, or (in one case) a tight rubber bodice that left little to the imagination. It wasn’t just the women that were there to shock either – one sole male model walked the runway clutching his crotch as his bumsters threatened to expose him entirely. 

NIHILISM

Staged in October 1993, ‘Nihilism’ (which can be streamed in full here) was Alexander McQueen’s S/S 1994 collection, and his first ‘official’ collection as a fashion designer. The definition of the world ‘Nihilism’ itself comes from a philosophical concept – its general philosophical definition is an ‘extreme form of scepticism that denies all existence’, but it also holds the psychiatric definition of ‘a delusion, experienced in some mental disorders, that the world or one’s mind, body, or self does not exist’. This first collection was an introduction to McQueen’s intelligent, philosophical take on fashion design; perhaps one of the greatest things about McQueen is that researching his work always allows a glimpse into the designer’s mindset and interests at the time. 

'Blood-spattered dress', SS1994

The concept of Nihilism is visually represented throughout the collection via translucent fabrics; sheer materials that glide over the female form, allowing a glimpse at the flesh beneath. The element of transparency represents that the clothes themselves are nothing – by stripping the majority of the collection back and showing what were essentially chiffon sheaths, the clothing itself may as well have no existence as it conceals little to none of the body itself. Other outfits appeared to be made of cellophane (see above) that had been wrapped tightly around the body and fitted with a zip in the back – splattered with rust-coloured paint, the dresses looked like they had been bleeding; the blood left to congeal. This kind of visual impact is the thing that McQueen is renowned for; his references to the grotesque and the macabre immediately set him apart from his contemporaries. 

MCQUEEN & I

In these past few months, I have realised that cultural differences do extend further than clichés, but they definitely do exist. More than anything, these differences become evident when we look at the way that the locals dress – in Paris, for example, monochrome is key and the ‘classic’ look is the one that is largely favoured. Well-dressed women keep their outfits simple and compensate with statement accessories (usually a Chanel bag and a pair of Louboutins.. even I’m jealous) and dramatic outerwear – fur coats and oversized capes are amongst the most popular choices. Back in the UK, however, people are more experimental with their clothing choices – the best example I can think of this is that the UK have charity shops, whereas they are nowhere to be found over here. English style is an eclectic mix of colour, print and texture – people aren’t afraid to be bold with their clothing choices, and with the rise of vintage and charity shops, young creatives can afford to dress boldly and express their personality. 

Alexander McQueen for Givenchy Couture

The reason that I mention this comparison is that recently I have re-developed a fascination with the late, great Alexander McQueen – more specifically, I’m fascinated with his brief spell as creative director of legendary Parisian couture house Givenchy. At this point McQueen was still in the formative years of his career, and considering his controversial earlier collections (‘Highland Rape’, ‘Dante’), his appointment as head of such a classic couture house caused uproar amongst the French fashion press that immediately slated his debut collection. 

TRANSGENDER x ANDROGYNY

Victoria’s Secret – the two words themselves have become embellished in modern culture as a synonym for female sexuality. The legendary underwear brand is no longer just a brand; alongside launching the careers of supermodels such as Tyra Banks and Adriana Lima, the house hosts an annual fashion show, a true spectacle that showcases beautiful lingerie and even more beautiful women. However, Victoria’s Secret has never really courted controversy – until this year. Although not yet confirmed, an online petition has been rapidly gaining popularity and could change the face of fashion forever. The subject of the petition is transgender beauty Carmen Carrera, famous for her stint on RuPaul’s Drag Race [Season 5] and the aim is to bag Carrera a slot in the upcoming fashion show, thus cementing her position as a force to be reckoned with in the modelling world.

Carmen Carrera

PORN?

Politics is a tricky business. Within right-wing countries such as my own home, the United Kingdom, politicians play a difficult game, attempting to combine conservative values with an economy driven only by growth. Ever since David Cameron (part of the right-wing Tories) took on the role of Prime Minister, a class hierarchy of sorts has emerged – arguably an undeniable element of a Capitalist government and not one which has had a hugely detrimental effect so far (aside from the fact that most of the population now shudder with fear at the thought of £9000 tuition fees, meaning that university education is now less of a right, more of a privilege). However, Cameron’s most recent announcement that he was going to ‘revolutionise the Internet’ was a step too far, and a clear example of politics sticking its proverbial nose where it does not belong. 

Kristen McMenamy, 032c

The ‘revolution’ of which Cameron speaks will manifest itself in the form of strict online censoring, no doubt designed to appease the overly-sensitive members of the UK population that  spend their Saturday nights on the phone to OFCOM, complaining about Lady Gaga getting her arse out on the X Factor. Now, with regards to the ban, it would be less irritating if Cameron was talking about cracking down on child pornography, or if the censorship was aimed specifically at youngsters, but he wasn’t and it isn’t. Instead Cameron now apparently feels he has the right to judge what we, as a nation of consenting, educated adults, should and should not be allowed to see – a rage-inducing thought, especially when we consider the effects that the ban could have on young creatives. This article is designed to highlight just one of the countless flaws in Cameron’s grandiose scheme – the notion of defining what it and what isn’t porn, especially within the realms of fashion and art. In terms of censorship, how can we define what is inappropriate and what isn’t?