“I want to be the purveyor of a certain silhouette or a way of cutting so that when I am dead and gone people will know that the 21st century was started by Alexander McQueen.” This is one of the many quotes decorating the hallways of the “Alexander McQueen: Savage Beauty” exhibit appearing at the Metropolitan Museum of Art now through July 31, 2011. Since his drug induced suicide in February 11, 2010, the acclaimed designer has been immortalized through his craft and now on display for anyone with a few extra dollars to drop as a donation.The exhibit begins with two very bold garments. One bright red dress made of Ostrich feathers and glass microscope slides; another made of razor clam shells. These costume-ish dresses may seem somewhat like a train wreck that you just can’t be turned away from. On the other hand, one has to respect the ingenuity of the pieces; however if you are one that equate clothing with a functionality or a purpose, then this exhibit will leave you absconded with a feeling of bewilderment and perplexity.
The exhibit features designs from many collections over McQueen’s 20 year career. First pieces shown was from the collection titled, “Jack the Ripper Stalks his Victims,”created in1992 from his design school graduation collection. Clearly McQueen misses no opportunity to acquire shock value. From the titles of the collections to the materials used, everything about these designs is obscure and striking. One of the items on display was a pink silk satin printed thorn pattern lined in white silk with encapsulated human hair. McQueen always included a story behind his garments; he described the story behind this piece as: “The inspiration behind the hair came from Victorian times when prostitutes would sell theirs for kits of hair locks, which were bought by people to give to their lovers. I used it as my signature label with locks of hair in Perspex. In the early collections, it was my own hair.” Weaving in a filamentous biomaterial from your own body to make a jacket is either repelling or innovative, but this was the question plaguing me as I stroll through the ominous and gothic corridors at the MET.
The next room demonstrated even more bizarre pieces. Mannequin’s heads were all concealed by outlandish S & M themed masks and head
treatments created by hair stylist Guido Palau. One dress sure to leave an imprint was made entirely out of duck feathers from the autumn/ winter 2009-2010 collection known as “The Horns of Plenty.” This piece embodied McQueen's love for birds and his infatuation with death. One of the consistency’s in his work was his trademark silhouette which consisted of exaggerated shoulders and cinched waists in his excessively structural designs. McQueen was also an exceptional tailor, which is apparent when you view any of the footage of the garments on the actual models from the fashion shows- this did not translate as eminently on the mannequin’s.
Of the 6 room exhibit the last was the latest collection of the late designer known as “Plato’s Atlantis,” including “The Jellyfish” ensemble featuring the notorious “Armadillo” heeled boots most infamously worn by Lady Gaga with dress leggings covered in embroidered, iridescent, enameled paillettes. McQueen was a skilled scuba diver so this collection was inspired by the sea and all things futuristic-like.The curator, Andrew Bolton did an outstanding job selecting all (approximately) 200 pieces for this exhibit, encompassing just the right combination of beauty and morbidity; astonishment and atrocity as well as displaying the admirable craftsmanship that allows spectators to appreciate the work even if you are a fashion illiterate. If you haven’t yet been it is an integral part of New York culture and diversity. Definitely, a must see on the Upper East Side!!!
Metropolitan Museum of Art
1000 5th Avenue
(5th Avenue & 82nd Street)
New York, NY 10028
212) 535-7710
http://www.metmuseum.org/
Video: http://www.youtube.com/watch?v=Pg0HwLAJyV0&feature=related
