Alexander McQueen : pre-2000

[dior_couture1245]

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[dior_couture1245]

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Isn't that collection just stunning?

 

[Scott]

dior there is already an archive for mcqueen in the history section.

 

[dior_couture1245]

^^But it was only 1994-1996.

If the McQueen thread in the 'History of Style' subforum can be changed to 1994-2000, then this thread can certainly be merged with that one. Otherwise, they should stay separate.

 

[thiago:)]

^ That's exactly what I was thinking.
This collection is very good, actually I think that impressive and shocking are the best words to describe it.
What is that thing that the girl is wearing on her mouth?
Great to see that he still uses some volume notions that he used to work with.

 

[Whitelinen]

Do we have reviews etc. of this collection? I would love to hear of McQueen's inspirations and ideas behind this. I am especially interested on the significance of the gold paint on the models' heads - if that does indeed have any particular meaning behind it.

Good idea to post these here, Dior_Couture! I have seen pieces of this collection in editorials, but never the whole of it in catwalk pictures. Can't wait for more!

 

[dior_couture1245]

^^I know for sure at least part of the inspiration is Africa (which would explain jewelry (the necklaces especially, very very Masai)).

Later today, maybe, I'll post SS 00.

I have all the full collections from FW 00-SS 97

 

[Spike413]

I'm almost positive the collection was called "Eshu".

If I remember correctly, the whole story of the collection was this idea of a woman from Victorian era Europe traveling to Africa, and slowly the African culture blends with her own until it completely takes over....something to that effect. You can definitely see inspiration from the 1840s/50s in the leg-o-mutton sleeves, hoop skirts and corsets, and of course the inspiration from some of the darker, more mysterious things about various African cultures.

Here's a review from nytimes.com.

It was hard to know what to take away from Alexander McQueen's show on Tuesday night. Last season, when Mr. McQueen showed in New York, it he had to contend with a hurricane.

This season, a handful of unintimidating teenage protesters from a group called London Animal Action stood outside with small signs that read ''Fur Hurts.'' Dozens of bobbies surrounded them. Getting into the show, held in the most trite of venues, a damp warehouse, required that guests hand their bags over to security guards to be searched. There were rumors that there had been a bomb scare the night before the show. There were other rumors that Mr. McQueen was planning to blow up a house during his show. Nothing was blown up, though a hoop-skirted, distressed denim dress that came down the runway was splattered, pointlessly, with what appeared to be explosive debris that was probably liquified clay.

Sitting through the McQueen show felt like eavesdropping on a young man's therapy session, as he tried to work out very complicated feelings about his mother. Mr. McQueen never makes it all that easy for his models to travel the runway, but this time his treatment of them bordered on cruelty. They had to walk over piled-up slate in staggeringly high wedge-heeled boots. Mr. McQueen's clothes are not known for their featherweight, and the models looked as though they were about to fall over. One model was also forced to wear a metal mouthpiece with jutting spears that stretched her lips from the top of her nose to the bottom of her chin. Some in the audience turned their heads, unable to look.

All the discomfort Mr. McQueen was so desperately trying to create almost eclipsed the exceptional in his show. And there was much that was exceptional -- a dress made of molded cane on top and sculptured roses on the bottom -- achieved the status of art. There were exquisite wearable pieces, too, including a brown opera coat with a cinched waist and exaggerated lapels.

This collection is actually my first memory of McQueen, the first collection of his I remember seeing. I'd say it was a pretty accurate first impression; the aggressive and barbaric mixed with the romantic and feminine. That's kind of McQueen in a nutshell.

 

[dior_couture1245]

^^Thank you so much for that review, Spike.

It always bothers me when journalists complain about the location of the show (yes, Sarah Mower, I'm talking to you, too)...just suck it up and enjoy the show. Do they know how many people would inflict physical pain and other such forms of torture on themselves to even see a McQueen show, standing room only, no less?

It's also so interesting how they found many aspects of the show so uncomfortable. For example, they thought the piles of slate on the runway was torturous, but I think it's terribly poetic. The metal mouthpiece as well, the reviewer thought it was terrifying...I think it's gorgeously savage. Hmmm...

 

[dior_couture1245]

Spring/ Summer 2000

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