"Alexander McQueen: Savage Beauty" at Met Honors Fallen Fashion Genius
|Photos courtesy of Metropolitan Museum of Art|
"Alexander McQueen: Savage Beauty" runs May 4-July 31 at the Met. It features approximately 100 ensembles and 70 accessories and is curated by the Costume Institute's Andrew Bolton and directed by Thomas P. Campbell, with insight from Alexander McQueen creative director Sarah Burton and designer Stella McCartney. Your intrepid fashion reporters attended the opening with the creators yesterday morning; after the unveiling, McCartney spoke warmly of her friendship and Savile Row tailoring days with McQueen, Burton succinctly expressed her honor in being involved, and Bolton underscored the designer's tragic passing with a reverence clearly shared by his audience.
Our impressions of the exhibit:
For those not familiar with McQueen's flair for theatrics on the runway, the exhibition's collection of videos of past shows from 1997 to 2010 is an excellent introduction. On display is the legendary white cotton muslin dress that was spray-painted black and yellow on the runway at his spring/summer show in 1999. Above the splattered dress is a video that shows how the piece became such a lovely mess: Model Shalom Harlow, wearing a pristine white dress, steps onto a revolving turntable, where two industrial robots zap her with color to great applause from the audience. Dripping with paint, she dramatically staggers off the platform, looking gloriously disheveled and completely sexy. The performance is so thrilling that it's surprising to learn there were no rehearsals. As Harlow says in an interview on the museum's blog: "Alexander and I didn't have any conversation directly related to this particular piece and to creating this moment within his show. I like to think that he wanted to interfere as little as possible and allow me to have the most genuine, spontaneous experience as possible."
McQueen once said, "I want to empower women. I want people to be afraid of the women I dress," and his runway shows epitomized this philosophy. Take, for instance, a masked model courageously swaying in a ring of fire during the finale of McQueen's Joan collection (from Fall/Winter 1998-99). Or, as part of his The Overlook collection (from Fall/Winter 1999-2000), which was inspired by The Overlook hotel in Kubrick's The Shining, models fearlessly tromp down a runway that resembles an eerie forest in a snowstorm. The best video of the exhibition, however, is so small it could almost be missed if one were going too fast. It's a hologram of Kate Moss floating in a little glass pyramid, a miniature replica of the pyramid used at the finale of his 2006 collection Widows of Culloden. McQueen, who welcomed controversy, chose Moss to star as a ghostly being in his show at a time when many in the fashion community had shunned her for drug abuse. Truly, it was this instinct to never follow the pack that served him so well in his sadly too-short career.
I was so impressed by the thoughtfulness of the McQueen exhibit - not just the presentation of his garments, but the space the curators gave his intentions. The Met gives great reverence to his rationale behind each line, not least because it was always fascinating. McQueen was a conscientious designer; his controversial Nihilism collection was, he explained, a "response to designers romanticizing ethnic dressing, like a Masai-inspired dress made of materials the Masai could never afford." Nihilism was the line in which he sent out a latex dress bearing locusts and gorgeous gowns smeared in mud. He was such an inquisitive mind: his final collection was called Plato's Atlantis, a brood of crystalline, shimmering, yet sharply edged femininity--and much like The Timaeus, its mythical status does seem warranted in its cleverness. And symbolic predilection: the collection was meant to foreshadow evolution after the ice caps had melted.