![]() ![]() Taxi Driver, a 1976 neo-noir film by Martin Scorsese to a lesser extent McQueen's taxi driver father ĭebut of bumster trousers exhibited rather than shown on runway no pieces survive as entire collection was accidentally lost immediately following the exhibit Įclectic collection with no straightforward theme, general pushback against trend for womenswear to be soft and feminine Thesis collection for Master's degree in fashion at Central Saint Martins purchased in its entirety by editor Isabella Blow London serial killer Jack the Ripper and prostitution in the Victorian era, particularly their practice of selling locks of hair This article concerns itself with McQueen's own-label womenswear collections.Ĭollections List of collections Collectionĭuke of York's Headquarters, London From 1996 to October 2001, McQueen was also – in addition to his responsibilities for his own label – head designer at French fashion house Givenchy, for which he produced both haute couture and ready-to-wear collections each season. In his early collections, he sometimes presented menswear or had male models walk in the shows, but his label did not have a regular menswear line until 2004. ![]() Womenswear was the focus of McQueen's career. Other significant designs include the skull scarf, another brand signature, and the armadillo shoe, often worn by singer Lady Gaga. Early in his career, he originated an extreme low-rise trouser cut called the " bumster", which became a brand signature. He used unusual cuts and silhouettes to play with the human form, making wearers appear inhuman. Through his work, he explored themes such as romanticism, sexuality, and death. McQueen drew inspiration for his clothing and shows from a broad range of sources, including film, history, nature, world religions, art, and his own life. His runway shows were known for being dramatic and theatrical, with some including elements of performance art. As a designer, McQueen was known for sharp tailoring, historicism, and imaginative designs that often verged into the controversial. It has a beauty and a strength but a fragility in the fact that it will inevitably wither and die, but is just as beautiful then as it is at the beginning of its life span.Dress from unfinished final collection Angels and Demons (Autumn/Winter 2010)īritish designer Alexander McQueen designed 36 womenswear collections under his eponymous fashion label during a career that lasted from 1992 until his death in 2010. ![]() “I love the fragility and splendor of it, the idea that it represents birth and rebirth and the whole life cycle, which has beauty as a bud and a beauty through its decay. “To me, it’s the queen of flowers, the most British flower of all, a symbol of femininity,” says Burton, in a video that accompanies the installation. All these blooms are celebrated in a new installation titled simply “Roses” at the brand’s London store at 27 Old Bond Street. Over these three decades the rose has been interpreted by both designers in a variety of ways: perforated through leather as McQueen accomplished in 1997, pleated and tucked into a blooming frock as Burton did in 2019, or stitched through burlaps and muslins, an idea that both explored over the years. Beautiful but thorny, the quintessentially British blossom has been one of the brand’s most persistent motifs, dating back to some of Lee McQueen’s earliest collections in the ’90s and carrying into Sarah Burton’s work of the 2010s. In the sprawling English garden of Alexander McQueen, no flower carries as much weight as the rose.
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