Alexander McQueen

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In 2011, many people in the Museum were worried that McQueen’s work was not widely known or appreciated. The Friday before the show’s opening was the royal wedding, and Kate Middleton wore a McQueen dress created by Sarah Burton, who is interviewed in the catalogue. Suddenly, everyone in the world knew McQueen’s and Burton’s names. The first printing sold out in three weeks.

The lenticulars are manufactured in Italy and each one is secured to the book by hand with strong, double-sided tape. The bindery is in Calenzano, near Prato, which had a strong textile industry. Some of the materials that McQueen used were made there, so it was nice for the book to have this additional connection to his work. The book’s popularity is a testament to McQueen’s talent, originality, and creativity, as well as Andrew Bolton’s insight and vision. It is a book meant to be looked at over and over. Even a decade later, there is always something new and inspiring to discover. As with any works of art in The Met collection, the staff preserves and protects all accessioned costumes from deterioration. For this reason, no one may wear a garment after it enters the collection. You were able to photograph McQueen’s works on live models because they weren’t accessioned Museum objects, right?The book also captures a certain moment in time. It represents a period of transition for the house as it reflected on its beginnings and looked toward the future. The collection featured a number of exoticised garments, including a coat and a dress appliquéd with roundels in the shape of chrysanthemums. A fragile, blood-red glass and ostrich feather gown offered a meditation on life's transience, while a thermal image of the designer's face was woven into the fabric of a silk coat. Savage Mind ‘You’ve got to know the rules to break them. That’s what I’m here for, to demolish the rules but to keep the tradition.’ More people can understand the dress if it's tarnished and distressed. If you walked out in the first dress you'd be setting yourself apart form everyone but if you wore the second one people would be able to accept you. I find that untouchable Hollywood glamour alienating. It has no relevance to the way I live my life. Remember where you came from. The second dress is beautiful in a different and more authentic way.

The installation curated by Andrew Bolton at the Metropolitan Museum of Art is absolutely wonderful, astonishing, extraordinary! I would give this book five stars if it contained photographs from the actual installation -- raw concrete stages, aged mirrors, Cabinet of Curiosities room, etc. This 8.5 minute video will give you a good overview of the "experience": http://blog.metmuseum.org/alexandermc... When you see a woman wearing McQueen, there's a certain hardness to the clothes that makes her look powerful. It kind of fends people off." Bolton chose not to include any biographical information in the original New York Savage Beauty because he felt that McQueen’s life was “laid bare in his work for all to see”. There is a purity to this approach and it is surely true that our appreciation of McQueen’s art is not enhanced by knowing the details of his nights – and days, come to that – of drinking and drug-taking, the fights with various boyfriends, the liposuction he resorted to in a desperate attempt to slim down to a more fashionable weight. There is, however, one fact about McQueen’s life that emerges from Andrew Wilson’s biography as a possible key to his creative vision as well as to his final depression. Though not as authoritative as Thomas’s book on McQueen’s place in the world of fashion, Wilson had the benefit of interviews with the designer’s family, which makes his biography the more intimate and affecting of the two. At the age of nine or 10, McQueen started to be sexually abused by a violent man – Terence Anthony Huyler – who was married to his sister Janet. When he later confided in Blow, he said that this man stole his innocence. The young McQueen also watched powerless on several occasions when Janet was beaten or half-strangled by Huyler. Janet, who had no idea that her husband was abusing her little brother, remained close to McQueen all his life, almost like a second mother. Wilson convincingly argues that Janet became “the blueprint” for his clothes, a woman who was “vulnerable but strong”. Sometimes the women on the runway were McQueen himself, other times they were Janet. This, writes Wilson, “was the woman he wanted to protect and empower through his clothes; the patina of armour that he created for her would shield her from danger”. I do not follow fashion closely by any stretch of the imagination, but found Alexander McQueen's craftsmanship breathtaking and his complex ideas expressed about Nature, culture, politics, gender, sexuality and beauty really fascinating.

Since the exhibition, there have been many books published on McQueen. I thought ours might be surpassed, but it remains a benchmark. Published to coincide with the exhibition the title opens with a preface from Andrew Bolton, curator of The Costume Institute of The Metropolitan Museum of Art, and an introduction by Susannah Frankel, Fashion Editor with The Independent newspaper and friend of McQueen. After this, the book is divided into sections such as ‘The Romantic Mind’, ‘Romantic Primitivism’ and ‘Cabinet of Curiosities’, mirroring the layout of the exhibition. As a place for inspiration Britain is the best in the world. You’re inspired by the anarchy in the country.’

Right. All the works were part of McQueen’s archive and we photographed them there. The models we hired had worked as dress models for McQueen, so they were familiar with wearing his garments. We shot the photographs in December 2010, on a very fast schedule. We had to start printing the book in February so that copies would arrive from the Italian printer in time for the show’s opening in May.

London

Published to coincide with an exhibition at The Metropolitan Museum of Art organized by The Costume Institute, this stunning book includes a preface by Andrew Bolton; an introduction by Susannah Frankel; an interview by Tim Blanks with Sarah Burton, creative director of the house of Alexander McQueen; illuminating quotes from the designer himself; provocative and captivating new photography by renowned photographer Sølve Sundsbø; and a lenticular cover by Gary James McQueen. Arguably the most influential, imaginative, and provocative designer of his generation, Alexander McQueen both challenged and expanded fashion conventions to express ideas about race, class, sexuality, religion, and the environment. Alexander McQueen: Savage Beauty examines the full breadth of the designer's career, from the start of his fledgling label to the triumphs of his own world-renowned London house. It features his most iconic and radical designs, revealing how McQueen adapted and combined the fundamentals of Savile Row tailoring, the specialized techniques of haute couture, and technological innovation to achieve his distinctive aesthetic. It also focuses on the highly sophisticated narrative structures underpinning his collections and extravagant runway presentations, with their echoes of avant-garde installation and performance art. I took advantage of the extra hour to see the exhibit at 8:30 a.m. Saturday, and skip the queue which was two hours long when I came out at 10:00 a.m.! (That doesn't include the queue to get into the museum..). Six hours after and still processing, I summed up for friends: Burton, Bosch, Braveheart, beads, bones, birds, brutal, beautiful.. Bravo!

The final images, which kept the hands and eliminated the hardware, worked. Their focus is on the clothing, and the garments look natural because they were photographed on living bodies. The shots are dramatic and better reflect how McQueen’s clothes are made to be seen. McQueen developed a host of new shapes, tailored to mimic marine features: pronounced hips and shoulders gave way to amorphous forms; a fluted miniskirt resembled the folds of a jellyfish; puffed sleeves were folded and pleated to connote gills.It's hard to find garments like that amid the high street's shapeless viscose and denim. McQueen's collections were art. As Burton says: I have always loved the mechanics of nature and to a greater or lesser extent my work is always informed by that.’ One of the things that made the Savage Beauty catalogue such a success is the evocative imagery by fashion photographer Sølve Sundsbø, and I think readers might be interested to know that there is a little more to the photographs than meets the eye. How did these images come to be?