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LEE ALEXANDER McQUEEN


SAVAGE

SAVAGE


BEAUTY


“The world is experiencing a McQueen moment” said Thomas P. Campbell, director of the Metropolitan Museum of Art in his opening remarks to the press at today’s preview of the exhibition Savage Beauty: Alexander McQueen. A more fitting choice of words could not be spoken. Until now, the extraordinary and rare genius of Lee Alexander McQueen’s artistic vision was not widely appreciated. In this retrospective presentation of about one hundred garments and seventy accessories from the late designer’s relatively short career from 19922010, The Metropolitan Museum has honored and documented the enormous legacy of McQueen to the world of fashion and art. Alexander McQueen once said “For me, what I do is an artistic expression of that which is channeled through me. Fashion is just the medium.” Not defined by stylistic convention, McQueen explored themes of love, nature, sex, and politics in terms of clothing and accessories for women. McQueen was also fascinated by the polarities of

light/dark, wonder/terror, ugly/ beautiful, life and death. Although his medium was fashion, McQueen’s thematic precepts were the opus of contemporary art and the exhibition celebrates that aspect of his work. The expansiveness of McQueen’s vision is apparent in not only the thematic underpinnings to his work but also in his innovative use of materials. He manipulated feathers, horns, wood, glass, flowers, horsehair and shells into coverings for the female form. Mollusk shells became a corset, feathers became a skirt, alligator heads peeked out of jacket epaulettes, carved wooden boots became prosthetic legs, a jawbone became jewelry. There can be no doubt that he was an artist who presented his work in runway spectacles instead of a gallery. Looking to provoke reactions from his audience, he scripted the models for the runway shows to act with the charged emotions of a performance piece. Presented thematically instead of chronologically, the exhibition defines McQueen’s work as a Romantic individualist, a “heroartist who staunchly followed the dictates of his inspiration,” in the words of exhibition curator Andrew Bolton. Divided into galleries defined by themes of romantic historicism,


naturalism, primitivism, and nationalism, the exhibition is evocative of a gothic fairy tale. One moves from light into darkness and the stuff of dreams. Creating an exhibition that translated the spectacle of a McQueen show into the confines of a museum setting seems like a virtually impossible proposition. But curator Andrew Bolton and the exhibition designers captured the spirit of McQueen in a multidimensional sensory immersion into his oeuvre. Sound, air and light are designed to synthesize the effect of being at a McQueen runway show. Wind effects create movement of the garments. Music and music and light are manipulated to achieve a dream like quality to the galleries. Video projections within, behind, and around the objects, and in one case on the ceiling, animate the displays and allow the visitor to check their reality with the looped clips from runway shows. Much care has been given to the mannequins. Masks by Guido created out of leather, lace, linen and other materials conceal some of the mannequins faces and evoke a haunting presence. Some mannequins

are headless and others look as if they are moving. Some sit on turntables or are backed by mirrors.

No detail has been overlooked in this hauntingly beautiful presentation. Several of the rooms bring to mind a Baroque palace with glass-fronted cabinets befitting such a place. One gallery is suggestive of the Victorian cabinet of curiosities and showcases accessories that were created in collaboration with others such as Philip Treacy and Shaun Leane. And yet other galleries are modern and as disparate as the designer’s collections were from season to season. The exhibition is a showcase of unexpected delights, featuring the best examples of McQueen’s work sourced from the McQueen and Givenchy archive, as well as private collectors such as Daphne Guinness and Hamish Bowles.

The Metropolitan Museum of Art has set a new standard for exhibitions of costume. This exhibition is a fitting tribute to Lee Alexander McQueen’s extraordinary talent and is one of those shows that people will undoubtedly reference for years to come.


PLATOS ATLANTIS


SPRING/SUMMER 2012


EATHE


The gold feather dress was part of the autumn/winter collection that Alexander McQueen was creating when he died.


Sarah Bimpson  

Alexander McQueen - Savage Beauty