Category: Projects (Page 1 of 2)

present1 imperfect2

  1. Disorderly apparel reconfigured
  2. A playful project that tests the principal elements of exhibiting fashion: object, body, text, installation. A conversation between exhibition-maker Jeffrey Horsley and curator Amy de la Haye inspired by apparel which is damaged, worn-out or perished.

 

present imperfect at Fashion Space Gallery, May 2017 by Jeff Horsley and Amy de la Haye. Installation of Modular Structure (vertical): steel frame, ZFMDF, acrylic. Image by Jeff Horsley

 

present imperfect at Fashion Space Gallery, May 2017 by Jeff Horsley and Amy de la Haye. Installation of glass case with shattered glass effect. Image by Jeff Horsley

 

present imperfect at Fashion Space Gallery, May 2017 by Jeff Horsley and Amy de la Haye. Shattered glass hides a silver reflective jacket by Stone Island, c.1996. Image by Ben Whyman

 

technology fallibility

Present Imperfect at Fashion Space Gallery May 2017 by Jeff Horsley and Amy de la Haye. Osti for stone Island reflective jacket. c. 1996. Image by Katy Davies.jpg

A high-performance reflective fabric incorporating glass microspheres that have, over 20 years, ruptured the textile surface.

Lent by Oliver Evans, Too Hot Limited, Iconic Cultural Artefacts London.

 

fragility absence

present imperfect at Fashion Space Gallery, May 2017 by Jeff Horsley and Amy de la Haye. Redfern afternoon gown c.1907 Silk (shattered), wool, lace and passementereie. Image by Katy Davies

Close up of a perished Redfern afternoon gown c. 1907. Metal was added to silk used in the lining. Over time the metal cuts, razor-like, into the silk filaments. The phenomenon was called 'inherent vice'.

 

perished present

present imperfect at Fashion Space Gallery, May 2017 by Jeff Horsley and Amy de la Haye. Paul Harvey for Stone Island, Raso Gommato multi-pocket military-style jacket autumnwinter 2007. Image by Katy Davies

Cotton with Raso Gommato coating, bonded with 'toffee-wrapper' textile (delaminated and split). The 'toffee-wrapper' facing  is likened to a perished silk gown made a century previously. Lent by Jojo Elgarice, Jojo's General Store by Rag Parade, Sheffield.

 

Present Imperfect at Fashion Space Gallery, May 2017 by Jeff Horsley and Amy de la Haye. Installation of glass cases. Modular structure (vertical+horizontal) steel frame. Image by Katy Davies

 


Present Imperfect at Fashion Space Gallery, May 2017 by Jeff Horsley and Amy de la Haye. Image by Katy Davies

 

present imperfect at Fashion Space Gallery, May 2017 by Jeff Horsley and Amy de la Haye.  Private view. Image by Katy Davies

present imperfect

Fashion Space Gallery

12 May – 4 August

LCF Archives: Object Reading Group

One of the pleasures and strengths of LCF’s archive is the idiosyncratic range of material the collections hold. The objects have been collected to reflect, illustrate and inspire the diverse processes, outputs and areas of the industry the college works with.

Dressmaking Students, Shoreditch School, 1930

Dressmaking Students, Shoreditch School, 1930

As well as a being a potent starting point for a collecting policy, this approach makes LCF a fascinating melting pot of different methodologies, ideas and forms of expertise. With fashion as the unifier, a tailor, a curator and a trend forecaster can each ‘read’ and understand an object in a different way, one which is framed and informed by their differing areas of expertise.

With that in mind, in conjunction with the Fashion Archives, we are starting a new series of events. In these monthly discussion groups, participants will be asked to ‘read’ and discuss a selection of objects from the LCF Archives collections.

We aim to take an interdisciplinary approach to the sessions and discussions, and to encourage students, staff and researchers to apply their different expertise and knowledge bases (whether practical or theoretical) to ‘reading’ the selected objects. As well as highlighting the variety of materials in the archive, the events will promote the importance of object based learning in all disciplines, and hopefully highlight some of the different ways participants will engage with objects depending on their own expertise.

To sweeten the deal and help start the conversation, a complimentary glass of wine will be provided. This event series is a great way for students and staff to meet others from different disciplines and Colleges.

Booking is essential as spaces at the event are limited. To reserve a free space, please visit our events website.

Object Reading Group, JPS 305, Wednesday 22 February, 6.00 – 7.15pm

 

Reflections on Savage Beauty

Two years ago this month, the V&A opened the Savage Beauty Exhibition, the largest retrospective of the work one of the most innovative designers of recent times, Alexander McQueen.  Curator Claire Wilcox reflects on the restaging of Savage Beauty.

Alexander McQueen was one of the most influential designers of his generation. His radical and fearless visions changed the way we look at fashion. He provoked with his ‘Bumster’ trousers, he astonished with dresses made from glass, shells and crystals, and he shocked with his powerful and spectacular catwalk shows that involved elaborate storytelling, compelling theatre and raw emotion.

Installation view of ‘Cabinet-of-Curiosities’-gallery, Alexander McQueen Savage-Beauty at the V&A (c) Victoria and Albert Museum London

The original version of Savage Beauty took place at the Metropolitan Museum of Art, New York in 2011. It was curated, completely brilliantly, by my ex-V&A colleague Andrew Bolton  and became one of the Met’s top ten most visited exhibitions. I spent two whole days in the exhibition and became convinced it was essential it be shown in London. I had had various conversations with Alexander McQueen when he was alive about the V&A putting on a show of his work, but he always said ‘I’m too young’ or ‘Tomorrow, tomorrow!’

I’m so glad the V&A re-staged the exhibition. It was created just months after McQueen’s untimely death with all the attendant passion this evoked, but Savage Beauty has stood the test of time. Before the doors even opened on 14 March 2015, the dates had been extended to the 2 August and over 100,000 advance tickets were sold. There was so much goodwill about the exhibition coming to London, and especially the V&A. It really felt like something of a homecoming.

Fashion in Motion

The V&A has a long history of working with McQueen. He was the second designer to take part in Fashion in Motion in 1999, introduced to me by Philip Treacy, who was the first. McQueen immediately understood what it was about, which was to bring live, time-based fashion into the museum’s galleries. We staged a second Fashion in Motion in 2001 with McQueen and his longstanding collaborator Shaun Leane. By then, McQueen had become famous, and the museum was deluged. Thousands of visitors saw pieces such as the brocade top with hanging sleeves, a coiled metal corset in the middle and an aluminium yashmak inset with Swarovski crystal which Shaun has remade for the exhibition, and which is going to become part of the Museum’s permanent collections.

McQueen was really a 19th century romantic. He loved the Museum, saying ‘The collections at the V&A never fail to intrigue and inspire me. The nation is privileged to have access to such a resource’. One on occasion, we were walking through the Victorian Cast Courts past the massive statue of David, and Trajan’s column. He suddenly stopped and said: ‘This is the sort of place I’d like to be shut in overnight.’

Radical Fashion

I worked again with McQueen in 2001, on the exhibition Radical Fashion, which was inspired by a new shift in fashion towards the experimental and the radical. The embroidered garment in the case features in Savage Beauty, as does the chrysanthemum dress. In fact all of the pieces that were shown in Radical Fashion were reshown in Savage Beauty. Fashion imagery in the 1990s and early 2000s was also changing as the digital landscape created a new world of possibilities. Magazines such as Visionaire and Dazed & Confused represented this new energy in image making. The image by Nick Knight and McQueen, from 1997, is still in my mind one of the most arresting examples from that time.  Devon’s young face is like a manga heroine’s. She wears a cheong sam from McQueen’s La Poupee collection, a clouded contact lens and her forehead is pierced with a digital safety pin. I found it completely inspirational, and still do.

V&A Archive

McQueen frequently researched the V&A’s fashion and textile collections. I often showed McQueen and Sarah Burton, when she was still an intern, tailoring such as this. McQueen’s collections always had a reference to 19th Century tailoring in them. He especially loved the way the jackets were cut tight to the spine, and how the sleeves were inset. Among examples of this were a walking jacket in the Widows of Culloden collection.

McQueen’s library was full of books from the V&A, in fact on one visit to the museum he bought so many books he had to order a taxi. I was especially pleased to see the 1954 Christian Dior dress Zemire,  on the mood boards from the Horn of Plenty collection. Zemire was shown in my exhibition The Golden Age of Couture in 2007. You can see these mood boards in the Nick Waplington show at Tate Modern, or in Nick’s amazing book which documents the making of this collection. Mood boards were a very important aspect of the way McQueen worked, and you can see some from his last fully realised collection, Plato’s Atlantis, in the book we created to go with Savage Beauty.

V&A

Installation view of ‘Romantic Nationalism’ gallery, Alexander McQueen Savage-Beauty at the V&A (c) Victoria and Albert Museum London

Plan

Savage Beauty was the largest ever retrospective on McQueen and it is the largest fashion exhibition the Museum has ever staged. It filled all 3 of our major temporary exhibition galleries. 244 garments and accessories were on display, including 66 new additions for the V&A. There were over 35 film screens and each room has its own, specially commissioned soundscape. The intention is for it to be immersive, and theatrical, like McQueen’s catwalk shows.

In order for McQueen to turn his visions into a reality on the catwalk, he relied on a close circle of creative individuals. This was the case even from the early London days, when he worked with the stylist Katy England. What was very important in preparing this shown to be able to work with Sam Gainsbury and Anna Whiting of Gainsbury and Whiting, who produced all of McQueen’s shows from 1996, as well as other McQueen’s key collaborators, including production designer Joseph Bennett and director of scenography Simon Kenny. John Gosling produced the amazing soundtrack, Daniel Landin did the lighting and Guido designed the head treatments and face masks. Sarah Burton, who worked closely with McQueen for nearly 20 years advised on the new additions. These people knew McQueen inside out, and very helpfully for the museum, gave us an insight into the way he thought and, basically, his bravery. They helped us to push the boundaries of the exhibition, turn the sound up a bit, take some risks and take some artistic licence. Working with McQueen’s trusted collaborators was fundamental in ensuring the exhibition met the uncompromisingly high standards that McQueen set for himself, and, I believe, helped to bring sense of spectacle that was synonymous with his catwalk shows. If they didn’t understand how this was done, who would? It was fascinating being a fly on the wall as they discussed the scenography.

Entrance

The entrance lobby of the show opened with a projection of McQueen morphing between a portrait and a skull, a kind of installation that Sam Gainsbury referred to as ‘a Bill Viola’ moment. We made the decision not to put the exhibition title here, assuming everyone knew what show they were coming to! It is a compelling image produced by McQueen’s nephew Gary James McQueen, and it was used as the invitation to one of his shows and also on the cover of the Met book, so is a kind of tribute to that too. McQueen had a melancholy and often dark aesthetic. Many of his works reference death, and memento mori. Yet his work was also about regeneration, transformation and self-expression. He called himself ‘a romantic schizophrenic’.

London

London was the heart of McQueen’s world. He was born and raised in London. He trained in the city and he established his fashion label here. McQueen left school at 16 and then became an apprentice on Savile Row, first with Anderson and Sheppard, then with Gieves and Hawkes. Here he learnt the cutting and tailoring skills that were to inform his entire career. He then moved to Berman’s and Nathan’s where he learnt about theatrical costume.

At 20, he was employed by London based designer Koji Tatsuno, and then went to Milan on spec, but got a job as Romeo Gigli’s design assistant. All of these experiences were to prove crucial to McQueen’s development as a designer. But it was gaining a place on the Central St Martins MA course in 1990 that cemented his career. He applied for a job as a technician, but Bobby Hillson, who interview him, recognised his talent and told him he should be on the MA course. His graduation collection, Jack the Ripper Stalks his Victims, was bought by Isabella Blow who became a fearless champion. In less than 5 years, McQueen was Chief Designer at Givenchy – a position he held for almost 5 years. It was a meteoric rise for a young, working class man.

The exhibition opened with ‘London’, an entirely new gallery that situates McQueen in his home city and includes footage and clothing from three of his early London shows: The Birds, Highland Rape and The Hunger. It was an important gallery because it tells the story of a time before McQueen was famous, when we was a young designer, full of raw energy and creativity but without money to invest in expensive materials and elaborate shows. You can also hear his voice as part of the soundtrack, and also his mother reading out one of his school reports.

The gallery showcased ten designs – some of which have never been on display since they were worn on the catwalk. Many demonstrate the experimental materials and processes that McQueen used right from the beginning of his career. For example there is a dress from Highland Rape made from laminated lace which has been torn and shredded to expose the flesh, and skirts and tops made from translucent  polyurethane. A plastic label has been stitched into the top, under which is a lock of human hair. McQueen incorporated these labels in a number of his earliest collections; he used his own hair in the very first ones. In his graduate collection, he embedded dark strands of human hair underneath the silk linings of jackets. It gives them a strong, visceral quality that evoked the darker facets of the Victorian East End. McQueen’s use of hair is an example of memento mori, which was inspired by the nineteenth-century trade in human hair.

The designs in this gallery were raw and fierce. On occasion McQueen was accused of misogyny on account of his early models appearing on the catwalk wrapped in cling-film or wearing garments that had been torn and slashed. In fact, McQueen greatly admired women, and he said he always wanted to create strong, powerful clothes to protect them- and to make the women he dressed appear fearless.

McQueen was thought pretty hard edged but, as throughout his career, he managed with the support of a devoted team, among them his longstanding stylist and close friend Katy England, who was consultant on this early section, and also allowed her wardrobe to be raided!

Bumsters

The audaciousness and rawness of McQueen’s Highland Rape collection in particular hit the headlines, partly because of a misunderstanding about the title and also because of its intensity. Highland Rape was a commentary on the atrocities suffered by the Scottish at the hands of the English in the 18th and 19th centuries. It was a response to the romanticising and mythologizing of Scotland’s past.

McQueen found that creating a narrative on subjects that he cared about deeply or was intrigued by helped to imbue his collections with passion. The collections with a strong narrative always produced the best clothes, which were created to illustrate these narratives throughout his career.  One of the key members of his staff said: ‘It was personal and emotional, and he never wanted to water it down’.

McQueen redefined the silhouette with one of his most iconic designs, the ‘Bumster’ trousers which have a waistband that is cut 5cm below that of hipsters to elongate the torso and expose the lower spine. Bumsters caused a sensation and they appeared in his early collections again and again.

Savage Mind

McQueen’s formal training on Savile Row gave him the skills to cut cloth and it was a skill he never lost. There are many stories about his prowess with scissors. It was said that the atelier staff at Givenchy took fright at the speed and confidence with which he cut their expensive fabric. The tailoring gallery with all the different components – jackets, frock coats, trousers were the nuts and the bolts of his trade, a language which appeared again and again in his collections. The scenography of rough concrete and harsh lighting reflected the atmosphere of his early workshops, and the Gatliff Road Warehouse where many of his early shows took place.

Throughout his career, McQueen skilfully blended tradition and subversion: a jacket is formed from shaped pieces of fabric, each one printed with details taken from part of a 15th century triptych by Robert Campin called The Thief to the Left of Christ. Campin’s depiction of the crucified figure is striking, and it intended to provoke feelings of awe and amazement, much like McQueen’s catwalk shows. It was one of my favourite pieces in the exhibition because it demonstrated how McQueen sought to galvanise women with his strong tailoring, for example with features such as the exaggerated shoulders, but also because it was entirely steeped in history.

Gothic

In complete contrast, the Gothic gallery was filled with old mirrors and carved gold wood. Every garment was black, rich and laden with symbolism. McQueen’s Gothic sensibility is a recurring theme in his collections. His was always a romantic Victorian kind of Gothic, influenced by Edgar Allen Poe and Tim Burton films, with a touch of Miss Havisham. He enjoyed the theatricality, and the nipped in Victorian jackets were said to have been inspired by Isabella Blow’s dressing up box. But he also knew his history, and he was especially fascinated by Victorian garments in the V&A’s collection.

Among the examples of designs on display in the Romantic Gothic gallery was a corset from McQueen’s Dante of 1996. McQueen was drawn to the melancholia associated with the Victorian Gothic tradition. In this case he incorporated its colour palette. This corset has a lilac ground- the colour of half mourning- which is overlaid with lace applique and jet beading.

Dante explored the themes of war and religion. It was McQueen’s most dramatic catwalk show to that point and was presented in ChristChurch, Nicholas Hawksmoor’s Baroque edifice in Spitalfields, East London.

McQueen’s collections were often autobiographical. He had learned from his mother, an amateur genealogist, that his maternal relatives descended from the Huguenot immigrants who had moved to the area several centuries before.

Sometimes McQueen’s Gothic sensibility verged on the theatrical. Tim Burton collaborated on his Supercalifragilisticexpialidocious collection. He designed the show invitation and also the lighting for the show which took place in the Vaults of the La Conciergerie in Paris, where Marie Antoinette was held prisoner the night before she was executed. McQueen loved dark drama!

One design referenced the figure of the 18th century highwayman with its masked hat by Philip Treacy and billowing cape of parachute silk.

McQueen’s dark aesthetic was, however, tempered by lightness. An ethereal printed chiffon gown on was one of several on display from McQueen’s final collection that was completed by Sarah Burton after his death. A number of the garments in the collection were printed with details from religious paintings, such as Hieronymus Bosch’s depictions of the afterlife. This dress, however, has a softer, more ethereal feel. It includes the image of ‘The Virgin of the Annunciation’ from Hugo van der Goes Portinari.

Primitivism

The design of this gallery was entirely new for the V&A. It is filled with bones and skulls- the skull of course is especially significant and became a ubiquitous brand motif for McQueen. But it also references the morbid preoccupations of much fine art of the 1990s and 2000s, for example Damien Hirst’s diamond studded skull. The gallery was capped with an extraordinary film sequence by John Maybury. It was projected at the start of McQueen’s Irere collection, and shows a girl plunge into the sea and appear to drown. As she sinks deeper into the water, the tendrils of her torn chiffon dress appear to ensnare her legs. But, as with many of McQueen’s narratives, Irere was a transformational tale. In the catwalk show the girl is saved and she becomes an Amazonian princess.

The idea of the untamed and an interest in the animal world inspired McQueen throughout his career, and it was summed up in the exhibition’s title of Savage Beauty. McQueen loved nature documentaries such as the Blue Planet (this was my first piece of homework, to sit down and watch the Blue Planet!). And, like a lot of designers, such as Vivienne Westwood, enjoyed National Geographic magazine. But his work was never literal; he absorbed influences, but wore them lightly. The work was always McQueen.

This gallery which has a very earthy feel to it. McQueen once said ‘Everything needs to connect with the Earth. Things that are processed and reprocessed lose their substance.’

The garments were from two collections It’s a Jungle Out There, and Eshu. Both collections engaged with the animal kingdom, the survival instinct, and tribal cultures; Eshu taking its name from an African tribe worshipped by the Yoruba people. One of the garments was a ponyskin jacket with impala horns embedded in wooden blocks concealed within the shoulders. Paired with bleached denim trousers, the look was an example of McQueen’s exciting combinations of materials and references, drawing here on the African plains and ’90s street culture.

Another, a lasercut leather dress which sits atop an exposed metal crinoline, is the Victorian reference in this collection.

There was also an astonishing dress made from a skirt of horsehair and a bodice of glass beads. In places the beads have been built up into several layers. This gives the bodice a mossy or algae-like quality and gives the impression that the garment is alive and growing.

McQueen was not afraid to be direct with his references and he also often worked with intriguing materials, which sometimes had fetishistic qualities. On display are designs involving skin, hair, horn, latex and even mud.

Nationalism

McQueen was also fascinated with his Scottish heritage. It helped to inform his identity and gave him a cause to champion, and he frequently used the MacQueen family tartan. McQueen first engaged with his Scots ancestry in his Highland Rape collection of 1995. He returned to the theme 11 years later with The Widows of Culloden. It was a beautiful collection and a much less aggressive rendering of Scotland’s past than Highland Rape. Each garment in the collection was rendered to the highest level of craftsmanship, and each one was conceived of as a precious heirloom.  The design of the Nationalism gallery reflecteda Scottish baronial hall. Handel plays in the background to reinforce the grandeur and complement the majesty of the garments on display.

McQueen’s collections often centred around elaborate narratives. The Girl Who Lived in the Tree told another transformation story about a girl who lived in an old elm tree in his garden and became a princess. It was arguably one of his most lyrical collections and many of the pieces are embroidered with Swarovski crystal. The collection also drew inspiration from the twilight years of the British Raj following a month-long trip that McQueen took to India with Shaun Leane. You can see it in the shoes and sari fabrics that McQueen used.

The garments on display in this gallery were among the most majestic in the exhibition and they really underscored the skills that McQueen brought to his own label collections following his tenure as chief designer of Givenchy. He always said that the years he spent in France were instrumental in enabling him to develop couture techniques and a lightness and softness of touch.

Team

McQueen always worked in teams. He was brilliantly talented, but he also recognised talent in others, and while he often worked alone cutting a jacket or a frock coat, his shows were like being on the set of a film production. He also surrounded himself with artists –   the Chapman Brothers, Sam Taylor Johnson and Anne Deniau (some of whose photographs the V&A had just acquired). His Show Producer for many years Sam Gainsbury, was Creative Director of Savage Beauty. Sam is the reason why the exhibition has such high production values.

Cabinet

McQueen’s creative collaborations were fundamental in enabling him to realise the entirety of his creative visions. They spanned hat makers and jewellers, to glass technicians, prosthetists, leather workers and even welders. The Cabinet of Curiosities paid tribute to these rich and diverse collaborations and formed the heart of the exhibition. It filled the entire North Court exhibition gallery, and extended upwards to 6 and a half metres high. It was perhaps the most intriguing, dazzling and mesmerising of all the galleries and was hugely impactful. In all the tours I’ve gave, we always got stuck there!

The Cabinet included over 120 accessories and show pieces- garments that were made for the catwalk but never intended for commercial production. It was also filled with 27 screens showing footage from McQueen’s many catwalk shows.

What made McQueen so fascinating is the remarkable breadth of materials that he incorporated into his body of work. Some of the most intriguing – such as a bodice made from mussel shells and a headdress by Philip Treacy made from wood and coral were on display in this gallery.

New Additions

We have been so fortunate that, with the luxury of more space, we were able to add more objects to the V&A exhibition. Most of them appeared in the Cabinet. Among these were a necklace on the left by jeweller Shaun Leane which was one of my absolute favourites. Shaun was trained as a fine jeweller and goldsmith, but his collaborations with McQueen propelled his creative horizons. Not only did he produce elaborate body sculptures for McQueen, such as the aluminium coiled corset, but he also had to work a new range of materials. In this he found himself drying out and lacquering pheasant claws, which he combined with strings of precious Tahitian pearls. The intriguing combination of organic materials is one of many examples where McQueen redefined conventional perceptions of beauty through his unique visions.  The exquisite Bird headdress by Philip Treacy was from the La Dame Bleue collection in which both designers came together to pay tribute to their former muse and mentor Isabella Blow, who had recently committed suicide.

Also displayed was the ‘Bell Jar’ dress, so named because its shape takes the form of a Victorian bell jar. It is encrusted with Swarovski crystal and weighed a staggering 18 kg! Our textile conservators had to design special supports to reinforce the mannequin so it could withstand display for such a long time.

One of the most exciting additions was a  jewelled yashmak which was remade by Shaun Leane for V&A exhibition. It was originally made for McQueen’s S/S2000 collection called Eye, and it was also shown at the V&A’s McQueen and Leane Fashion in Motion event 14 years ago as I showed earlier. I am delighted to say that it is now part of the Museum’s permanent collection and I’m thinking we should really display it in the Armour gallery!

Another special commission for the exhibition was Philip Treacy’s remade Chinese Garden headpiece from It’s Only a Game. It is an exquisite, intricate design carved from cork and gently trembles as it rotates on its turntable. Many of the pieces turned in this section because we wanted to animate the gallery, but also because the pieces were spectacular from every angle.

Pepper’s Ghost

This is probably the most evocative gallery in the show. It recreates one of McQueen’s most memorable catwalk moments, when Kate Moss appeared as a spectral apparition on a glass pyramid at the centre of the catwalk at the end of the Widows of Culloden show. It used a nineteenth century technology called Pepper’s Ghost, as a way to conjure up the magic of McQueen’s catwalk shows for our exhibition at the V&A.

Exoticism

This section reflected McQueen’s enduring interest in Asian dress and textiles and, in particular, the kimono. He avidly studied the Asian collections at the V&A and even incorporated historical materials into some of his designs. The way the collar of a kimono stands out was a detail McQueen borrowed from again and again – the nape of the neck was thought to be very erotic in Japanese society.

One of the most spectacular garments was a dress made from the panels of an antique Japanese silk screen from a collection called Voss. Beneath sits an underdress of lacquered oyster shells. The look is finished with a shoulderpiece by Shaun Leane made from silver and black Tahitian pearls. It was classic McQueen in that it fused hard and soft, savagery and beauty, for the clusters of pearls are melded to silver spikes that protrude upwards from the neck and appear to threaten the delicate skin around the face.

McQueen was a masterful showman, and Voss was one of his most impactful catwalk presentations. The collection – which fused McQueen’s interest in the Far East with his love of nature – was presented in a large glass cube. A tiled white floor and padded walls evoked a cell in a psychiatric hospital. The cube at first appeared mirrored; the audience of journalists and buyers were confronted with their own reflection, for hours. Then, the lights went down, and the models came out. Unable to see out of the two-way mirrors that formed the walls of the cube they pressed their hands against the glass, and appeared trapped inside a strange world of McQueen’s imagination.

McQueen’s shows were undoubtedly often provocative and controversial. It could be an endurance test to get through them – I know, because I was at Voss, and it was very disturbing. Sometimes they involved avant-garde installations that were akin to performance art. Although it was something he refuted, McQueen really brought an artistic sensibility to fashion, and the catwalk show.

McQueen’s intention was always to elicit a strong audience reaction. But his shows weren’t just about shock; they were always purposeful. McQueen always had a point to make. Voss was a commentary on the politics of beauty.

As the show came to a close, the opaque walls of a glass cube at the interior gave way. They smashed on the floor, revealing the naked, voluptuous figure of the fetish writer Michelle Olley, who lay on a chaise longue, masked and attached to a breathing tube while moths fluttered about her.

The finale – which was based on a photo called Sanitarium by his favourite photographic artist Joel-Peter Witkin -asked the audience to question the true meaning of beauty. It was his most transgressive catwalk moment.

In 2001 we recreated the glass box from this beautiful and terrifying collection for Radical Fashion. It’s a dazzling dress with a skirt of dyed ostrich feathers and a bodice made from hand-painted glass microscope slides; each one hangs delicately, mimicking the feathers on the breast of a bird.

In 2001 and again in Savage Beauty we showed the Japanese inspired dress  made from beach mats which McQueen brought back to his studio from a weekend trip to Brighton. The mats had been dyed and worked into appliqued chrysanthemum roundels, yet another of countless examples of McQueen’s inventiveness and resourcefulness with materials.

Naturalism

I’ve already mentioned McQueen’s lifelong interest in nature. He drew inspiration from its beauty and fragility and also found a unique colour palette derived from the natural world.  As a young man McQueen loved bird-watching and in later life took up falconry.

Like references to the Victorian period, you can find a reference to birds in almost all of his collections. Sometimes they informed the silhouette of a dress or coat, other times they appear as print motifs, and on other occasions he borrowed their material properties, crafting dramatic gowns from feathers which, when picked up, is a light as a bird, virtually weightless. McQueen even incorporated aspects of taxidermy. Birds are everywhere in his collections.

Web Installation view of ‘Romantic Naturalism’ gallery, Alexander McQueen Savage Beauty at the V&A (c) Victoria and Albert Museum London

Some of McQueen’s most beautiful and fragile designs are on display in this gallery. There is a dress made entirely from stripped and varnished razor clam shells, which McQueen once saw washed up on a Norfolk beach. I even tracked that beach down myself, during research for this exhibition; it took three hours to walk there, and had to be at low tide, but the effect was stunning. McQueen decided the shells had outlived their usefulness on the shore, so he took them and made a dress out of them. Then, during the show, the model Erin O’ Connor, ran her hands up the dress, cutting them to shreds. The shells clattered to the floor, and so their usefulness was over once again.

McQueen was deeply aware of life’s transience, and he had a very uplifting attitude toward it. He once said ‘It’s important to look at death because it is a part of life. It’s a sad thing, melancholy but romantic at the same time. It is the end of a cycle – and everything has an end. The cycle of life is positive because it gives room for new things.’

I loved the Naturalism gallery – full of bird song, and brightly lit, like a conservatory. The image shows a dress from his Sarabande collection made from silk and real flowers. On the catwalk fresh and dried blooms were used, but for conservation reasons we can only use dried and silk flowers. When the model walked, the blooms fell to the floor, exposing the transience of living things, and we emulated this in the display. The dress was inspired by contemporary artist Marc Quinn’s installation of frozen flowers, ‘Garden’ and also the photographic compositions of decaying fruit by Sam Taylor-Johnson, both artists that McQueen knew and admired.

Plato’s Atlantis

Plato’s Atlantis was the finale of the exhibition. As I have mentioned, McQueen was a masterful storyteller, and Plato’s was his most fantastical. It predicted a future world where the ice cap had melted and mankind had been forced to adapt in order to survive under the seas. As the catwalk show progressed, the models’ features changed- cheeks were enhanced with prosthetics and hair was sculpted into fin-like peaks to connote biological adaption and their evolution into a semi-aquatic species. The collection was filled with startling digital prints derived from natural organisms such as snakes, moths and jellyfish. Each print was engineered to fit the specific contours of each pattern. Plato’s also launched the iconic ‘Armadillo’ boot, the shoe with a 30cm heel that was entirely without reference to the anatomy of the foot; a show that fused a claw-like menace with that of a ballerina en pointe. No-one had ever seen anything like this before – it was so innovative and new.

Installation view of ‘Platos Atlantis’ gallery, Alexander McQueen Savage Beauty at the V&A (c) Victoria and Albert Museum London

McQueen also broke new technological ground with this collection by filming it live with two motion control cameras which surveyed the audience and the models and then transmitted or streamed it live over the internet via Nick Knight’s fashion website SHOWstudio. Unfortunately this crashed, because McQueen launched Lady Gaga’s latest single as the finale, and she mentioned this on twitter. However, the entire show was an incredible mixture of craft, nature and technology. The film alone that McQueen with Nick Knight and editor Ruth Hogben made was absolutely remarkable, and an extended sequence from it was played in the exhibition, which you can see it on SHOWstudio. Plato’s was widely considered McQueen’s greatest achievement, but I suppose the great unanswered question is, who knows what he would have done next?

The Book – Alexander McQueen

The book was complex and ambitious and we didn’t have quite enough time to do it, but I have no regrets for all the late nights and weekends spent editing it. The approach was kaleidoscopic. No one approach seemed right for a book on McQueen. For a designer who could include up to 300 references in any one collection, we needed multiple voices to articulate his significance and assess his meaning. So the book drew together the voices of 28 authors – some of whom were V&A scholars, while others are subject specialists, or collaborators of McQueen. Through their close knowledge of McQueen and their expertise in the diverse areas that McQueen drew inspiration from – iconographic and contemporary art, film, the Gothic tradition and nature to name but a few – they bring many new perspectives to the body of work of this most complex of designers.

Website

The website, the Museum of Savage Beauty which accompanied the exhibition, was inspired by the Cabinet of Curiosities and included new V&A photography, more essays and video clips of setting the objects in context. It explored the hidden stories and craftsmanship behind some of the most remarkable objects made by Alexander McQueen and his collaborators. His work is placed alongside historical objects from the V&A’s collections to give insight into the things that inspired him, and perhaps lead visitors down the rabbit hole, into McQueen’s mind.

Claire Wilcox is a Senior Curator at the V&A and the Curator of Savage Beauty. She is  Professor in Fashion curation at London College of Fashion.

Read all posts by Claire Wilcox

Louis Vuitton ‘La Galerie’

In September 2015, Judith Clark’s museum for Louis Vuitton was opened to the public. The installation is a fragmentary account of Louis Vuitton’s history through 400 objects and documents, chosen from the house’s archive of 26,000 objects and 165,000 items of paper ephemera. Among the objects at the new gallery space, which is located just outside Paris are trunks from the 1800s to the present day, clothing accessories and footwear.

Louis Vuitton - La Galerie in Asnières-sur-Seine

Louis Vuitton – La Galerie in Asnières-sur-Seine

Each of the individually cast plaster and wood units frame precious pieces from the archive, creating resonances across the collection that includes not only the company’s idiosyncratically gathered history, but reflecting the family’s own collecting policy – so a medieval trunk might sit next to a mini-malle handbag from 2015.
The route through ‘La Galerie’ is imagined as a game that is impossible to complete. Each theme is built as a piece of a jigsaw puzzle inspired by the shapes of Gaston Louis Vuitton’s game, the Pateki, which he designed in the 1930s

The relationship between craftsman and client is reinvented with every innovation in the company’s history. We find early trunks, morphed for different modes of travel, the first patents logged at early International Expos, as well as the exquisite graphics of calligraphic trials for the inlay for client’s personalized ‘necessaires’ or shop display. The clients, from Hollywood divas to fearless explorers created challenging demands, and modern technology created the means of finding solutions.

The exhibition space is located on the historic Louis Vuitton grounds where, in 1859, the family built a workshop, reserving one floor of the building as their home, and where made-to-order items are still manufactured.
“We wanted it to be perceived very much as a gallery intervention,” Clark said during a preview tour of the venue. “It’s like an installation reflecting on the idea of exhibiting the Vuitton archive. It’s intended to be kind of slightly disruptive in that way.”

 

The Vulgar: Fashion Redefined

‘The Vulgar: Fashion Redefined’ curated by Professor Judith Clark for the Barbican Art Gallery is the first exhibition to challenge and reconsider this important area of taste. This provocative exhibition – organised around eleven new definitions of the word ‘Vulgar’  written by psychoanalyst Adam Phillips – combines historic garments, haute couture and ready-to-wear fashion, questioning both the understanding and uses of vulgarity in fashion whilst enjoying its exuberance.

The Vulgar Fashion Redefined. Barbican Art Gallery

The Vulgar Fashion Redefined. Barbican Art Gallery

The project is part of Clark’s ongoing research into the history of fashion exhibitions, so the exhibition also acts as a reflection on fashion curation itself and notions of its ‘vulgar’ allegiance to consumer culture. So the ‘too popular’ in the exhibition can be an Andy Warhol inspired dress, but also an 18th century tableau referring to its recurring popularity within departments of costume.

Professor Clark’s research was supported from the start by Laura Thornley, who researched both the literary uses of the word from 16th Century to 20th century and later took on an essential role in the administration and management of the delivery of the project.

The Centre for Fashion Curation, with the Barbican, coordinated the installation of the exhibition, organising for volunteer UAL students (from Year 1 and 2 of MA Fashion Curation) as well as recent graduates to work alongside professional Costume Mounter,  Gesa Warner to gain essential experience of exhibition installation.  

The exhibition includes garments by contemporary designers including Walter Van Beirendonck, Manolo Blahnik, Hussein Chalayan, Pam Hogg, Stephen Jones, Christian Lacroix, Marc Jacobs for Louis Vuitton, Karl Lagerfeld for Chloé and Chanel, Alexander McQueen for Givenchy, Prada, Jeremy Scott for Moschino, Philip Treacy, Viktor & Rolf and Vivienne Westwood and Zandra Rhodes; as well as key loans from national collections and private lenders.

Judith Clark:

“The tableaux don’t illustrate the text and the text doesn’t illustrate the fashion, but they run alongside each other to say something about the themes that recur around ideas of the vulgar: about the copy (whether it is an impoverished version of an original); about ideas of excess, about displayed ambition, about the vernacular, etc. to name a few.”

 

The exhibition is at Barbican Art Gallery 13 October – 5 February 2017

And at the Winter Palace in Vienna 6 March – 20 June 2017

 

Installing Hardy Amies: A Dagenham Designer

The Centre for Fashion Curation’s Co-Director, Amy de la Haye is at the final day of install of the exhibition ‘Hardy Amies: a Dagenham Designer’ at  Valence House Museum.  Amy has been working to support the Curator Leeanne Westwood who is staging her first exhibition of fashion and dress.

The exhibition, conceived by Create London, takes place in Hardy Amies’ childhood home in Dagenham where the family lived in 1919. They lived at Burleighs Farm – now known as the White House – while Hardy’s architect father worked on construction plans for the Becontree estate.

 

Hardy Amies suit

Detail of ‘Made in England’ suit, lent by Howard and Austin Mutti-Mewse. Image courtesy of Amy de la Haye

“It’s really interesting because it gives a completely different perspective of him, exploring the place he grew up in,” says Amy of Hardy Amies.  This, she says, makes the exhibition “very human and accessible”.

 

Exhibition programme, Hardy Amies: A Dagenham designer. 3 December - 25 February 2016. Image courtesy of Amy de la Haye

Exhibition programme, Hardy Amies: A Dagenham designer. 3 December – 25 February 2016. Image courtesy of Amy de la Haye

Amongst the objects on display are clothes, accessories and shoes that have been borrowed from the archive at Central Saint Martins,the first time they have been exhibited.  Personal artefacts such as the future designer’s school cap, sit alongside one of his most famous designs – the suit the Queen wore for her Silver Jubilee in 1977,  telling the story of his life of contrasts.

Last year while on a research visit to the venue, Amy met Steve Lawrence, a carpenter who by chance heard her talk about the exhibition. Steve was working on the restoration of Hardy’s home and was fired by a long term love for the designer’s clothing. He had begun to collect the garments to wear, loving the tailoring, and often purchasing them on ebay. Steve has loaned several of his suits for the exhibition.

 

 

Steve Lawrence's vintage Hardy Amies suit almost ready for display

Steve Lawrence’s vintage Hardy Amies suit almost ready for display, Image courtesy of Amy de la Haye

 

Leeanne Westwood, Curator of Valence House Museum preparing drapery, Image Courtesy of Amy de la Haye

Leeanne Westwood, Curator of Valence House Museum preparing drapery. Image Courtesy of Amy de la Haye

Holly Gilson, working on placement with Leeanne at Valence House Museum has been taught how to pad and dress mannequins by Martin Pel, curator of fashion at Brighton Museum.  Martin is an associate member of CfFC and has lent clothes and carried out all the dressing.

Holly Gilson working on placement with Leanne at Valence House Museum. Holly has been taught how to pad and dress mannequins by Martin Pel, curator of fashion at Brighton Museum. Martin is an associate member of CfFC and has lent clothes as well as carried out all the dressing. been taught how to pad and dress mannequins by Martin Pel, curator of fashion at Brighton Museum. Martin is an associate member of CfFC and has lent clothes and done all the dressing.

Holly Gilson working on placement with Leeanne at Valence House Museum

 

Hardy Amies installation, Hardy Amies: A Dagenham designer. 3 December - 25 February 2016. Image courtesy of Amy de la Haye

Mannequin mounting, Hardy Amies: A Dagenham designer. 3 December – 25 February 2016. Image courtesy of Amy de la Haye

Hardy Amies: A Dagenham designer.  is open Saturdays to Tuesdays until 25 February. Entry free.

Visit Amy de la Haye’s  research profile on University of the Arts website

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