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Showing posts with label Alexander McQueen. Show all posts
Showing posts with label Alexander McQueen. Show all posts

Alexander McQueen: Savage Beauty

The exhibition, organized by The Costume Institute, will celebrate the late Alexander McQueen's extraordinary contributions to fashion. From his postgraduate collection of 1992 to his final runway presentation which took place after his death in February 2010, Mr. McQueen challenged and expanded the understanding of fashion beyond utility to a conceptual expression of culture, politics, and identity. His iconic designs constitute the work of an artist whose medium of expression was fashion. Approximately one hundred examples will be on view at the Metropolitan Museum of Art New York, May 4 - July 31, 2011.


"McQueen's work fits easily in the discourse of art. He can be considered no less than a great artist," said Thomas Campbell, director of the museum.


All the images below are from the exhibition catalogue Alexander McQueen: Savage Beauty published by the Metropolitan Museum of Art, 2011.


Courtesy of Alexander McQueen (1969-2010)
Dress, F/W 2010

Dress, F/W 2010

Ensemble, VOSS, S/S 2001

Dress, VOSS, S/S 2001

Dress, The Horn of Plenty, F/W 2009-10

Dress, No. 13, S/S 1999

Dress, Irere, S/S 2003

Dress, Sarabande, S/S 2007

Ensemble, Plato's Atlantis, S/S 2010

Dress, F/W 2010-11


Ensemble, It's a Jungle Out There, F/W 1997-98


Dress, Widows of Culloden, F/W 2006-07

the essence of an artist


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You've got to know the rules to break them. I spent a lot of time learning to construct clothes, which is important to do before you can deconstruct them." *
Alexander McQueen



Pablo Picasso Woman with a Crow
 from his Rose Period



 
 
 Alexander McQueen above & Alexander McQueen for Givenchy Haute Couture, below











*this is the essence of a true artist, I was taught this in my basic art courses over thirty years ago & it is none more visible in the work of these two geniuses-one with a long and full life, one with a full life-cut short.



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a reminder



" I'm an avid follower of the news, and sometimes you just can't take any more war, any more disasters, and you want to remind yourself there's Beauty in the world." Alexander McQueen


 
The Madonna and Child with St John and Angels 
 
Michelangelo
(c. 1497),







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McQueen's moves at the Met

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 McQueen at the board


"It's Only A Game"
Spring Summer Collection from 2005




the Queen's Panniers in Motion


Featured at the Exhibit, a McQueen dress and obi-style sash of lilac and silver brocade; jacket of lilac silk faille embroidered with silk thread; top of nude synthetic net embroidered with silk thread.(Met description)




McQueen's QUEEN on the board






 

 Photography by Sølve Sundsbø, the Met here





Panniers ca 1750
made of British tan linen and baleen
from the Met's Costume Institute





The  Pannier (French~wicker basket) supported the fashionable voluminous skirts of the early 18th century.  Originally launched in Spain & then on  to England & France , the undergarment was quickly embraced by all of fashionable Europe. The Pannier extended the width of the gown leaving the front and back flat. This arrangement allowed for a perfect canvas, showing off intricate brocades & embroidered silks. The original structure of the pannier was formed of stiffened petticoats &  rows of whalebone running around the skirting. The style escalated to its breadth by 1728 and sailed through most of the 18th century.





 the Met's robe a la francaise

In its most formal configuration, the robe à la française presented a particularly wide and flattened profile accomplished by enlarged panniers. Constructed of supple bent wands of willow or whalebone and covered in linen, panniers took on broader or narrower silhouettes. The most remarkable held out the skirts like sandwich boards, barely wider than the body in side view, but as expansive as possible in front or rear view.








the Met's Queen Diana Vreeland
As special consultant to the Costume Institute, from 1976 to 1989, Mrs. Vreeland  prepares a silk and silver wedding dress worn by Catherine the Great. The 1976 Exhibition -"The Glory of Russian Costume"-was one of  the shows Vreeland mounted  while  working with the Met. Her curatorial skills set the bar high for her successors. Curator Andrew Bolton and Curator in Charge continue the tradition of show stopping exhibits for the Institute- with the "Alexander McQueen: Savage Beauty" being its latest.



photo from LIFE,  December 2, 1976.






the other McQueen from  It's Only A Game
Spring Summer 2005







the Pieces at Play
past & present









Vreeland's Empress Catherine II, at  left, panniers below
Empress Catherine II before the mirror
 by Vigilius Erichsen, 1779

Queen Marie Antoinette, at right, panniers below
by Mme. Vigee  Lebrun






The King at play- Louis xvi,  
(paniers playing at far right)






& the Grandmaster





Alexander McQueen saw things no one else saw-or could make out.
Of this Collection he said: " the idea of the chess game meant that we looked at six different types of women, women on opposing sides. We had the Americans facing the Japanese and the redheads facing the tanned Latinos.” Another Magazine, Spring/Summer 2005


&  the result?
 a master's Gambit.






all McQueen images from the Met Costume Institute, style.com


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lavender McQueen

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"we shall find a cleanly room
lavender in the windows
and twenty ballads stuck about the wall."
Izaak Walton The Compleat Angler 1653-55




photograph IOULEX













1st photograph is from T Magazine by IOULEX
other images from Vogue
read the McQueen Chronicles- a collection of Little Augury posts on Alexander McQueen here
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Tennyson's Boudicca

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While about the shore of Mona those Neronian legionaries
Burnt and broke the grove and altar of the Druid and Druidess,
Far in the East Boadicea, standing loftily charioted,
Mad and maddening all that heard her in her fierce volubility,
Girt by half the tribes of Britain, near the colony Camulodune,
Yell'd and shriek'd between her daughters o'er a wild confederacy.
  `They that scorn the tribes and call us Britain's barbarous populaces,
Did they hear me, would they listen, did they pity me supplicating?
Shall I heed them in their anguish? shall I brook to be supplicated?
Hear Icenian, Catieuchlanian, hear Coritanian, Trinobant!
Must their ever-ravening eagle's beak and talon annihilate us?
Tear the noble hear of Britain, leave it gorily quivering?
Bark an answer, Britain's raven! bark and blacken innumerable,
Blacken round the Roman carrion, make the carcase a skeleton,
Kite and kestrel, wolf and wolfkin, from the wilderness, wallow in it,
Till the face of Bel be brighten'd, Taranis be propitiated.
Lo their colony half-defended! lo their colony, Camulodune!
There the horde of Roman robbers mock at a barbarous adversary.
There the hive of Roman liars worship a gluttonous emperor-idiot.
Such is Rome, and this her deity: hear it, Spirit of Cassivelaun!
`Hear it, Gods! the Gods have heard it, O Icenian, O Coritanian!
Doubt not ye the Gods have answer'd, Catieuchlanian, Trinobant.
These have told us all their anger in miraculous utterances,
Thunder, a flying fire in heaven, a murmur heard aerially,
Phantom sound of blows descending, moan of an enemy massacred,
Phantom wail of women and children, multitudinous agonies.
Bloodily flow'd the Tamesa rolling phantom bodies of horses and men;
Then a phantom colony smoulder'd on the refluent estuary;
Lastly yonder yester-even, suddenly giddily tottering—
There was one who watch'd and told me—down their statue of Victory fell.
Lo their precious Roman bantling, lo the colony Camulodune,
Shall we teach it a Roman lesson? shall we care to be pitiful?
Shall we deal with it as an infant? shall we dandle it amorously?
`Hear Icenian, Catieuchlanian, hear Coritanian, Trinobant!
While I roved about the forest, long and bitterly meditating,
There I heard them in the darkness, at the mystical ceremony,
Loosely robed in flying raiment, sang the terrible prophetesses.
"Fear not, isle of blowing woodland, isle of silvery parapets!
Tho' the Roman eagle shadow thee, tho' the gathering enemy narrow thee,
Thou shalt wax and he shall dwindle, thou shalt be the mighty one yet!
Thine the liberty, thine the glory, thine the deeds to be celebrated,
Thine the myriad-rolling ocean, light and shadow illimitable,
Thine the lands of lasting summer, many-blossoming Paradises,
Thine the North and thine the South and thine the battle-thunder of God."
So they chanted: how shall Britain light upon auguries happier?
So they chanted in the darkness, and there cometh a victory now.
Hear Icenian, Catieuchlanian, hear Coritanian, Trinobant!
Me the wife of rich Prasutagus, me the lover of liberty,
Me they seized and me they tortured, me they lash'd and humiliated,
Me the sport of ribald Veterans, mine of ruffian violators!
See they sit, they hide their faces, miserable in ignominy!
Wherefore in me burns an anger, not by blood to be satiated.
Lo the palaces and the temple, lo the colony Camulodune!
There they ruled, and thence they wasted all the flourishing territory,
Thither at their will they haled the yellow-ringleted Britoness—
Bloodily, bloodily fall the battle-axe, unexhausted, inexorable.
Shout Icenian, Catieuchlanian, shout Coritanian, Trinobant,
Till the victim hear within and yearn to hurry precipitously
Like the leaf in a roaring whirlwind, like the smoke in a hurricane whirl'd.
Lo the colony, there they rioted in the city of Cunobeline!
There they drank in cups of emerald, there at tables of ebony lay,
Rolling on their purple couches in their tender effeminacy.
There they dwelt and there they rioted; there—there—they dwell no more.
Burst the gates, and burn the palaces, break the works of the statuary,
Take the hoary Roman head and shatter it, hold it abominable,
Cut the Roman boy to pieces in his lust and voluptuousness,
Lash the maiden into swooning, me they lash'd and humiliated,
Chop the breasts from off the mother, dash the brains of the little one out,
Up my Britons, on my chariot, on my chargers, trample them under us.'
Hear Icenian, Catieuchlanian, hear Coritanian, Trinobant!
Me the wife of rich Prasutagus, me the lover of liberty,
Me they seized and me they tortured, me they lash'd and humiliated,
Me the sport of ribald Veterans, mine of ruffian violators!
See they sit, they hide their faces, miserable in ignominy!
Wherefore in me burns an anger, not by blood to be satiated.
Lo the palaces and the temple, lo the colony Camulodune!
There they ruled, and thence they wasted all the flourishing territory,
Thither at their will they haled the yellow-ringleted Britoness—
Bloodily, bloodily fall the battle-axe, unexhausted, inexorable.
Shout Icenian, Catieuchlanian, shout Coritanian, Trinobant,
Till the victim hear within and yearn to hurry precipitously
Like the leaf in a roaring whirlwind, like the smoke in a hurricane whirl'd.
Lo the colony, there they rioted in the city of Cunobeline!
There they drank in cups of emerald, there at tables of ebony lay,
Rolling on their purple couches in their tender effeminacy.
There they dwelt and there they rioted; there—there—they dwell no more.
Burst the gates, and burn the palaces, break the works of the statuary,
Take the hoary Roman head and shatter it, hold it abominable,
Cut the Roman boy to pieces in his lust and voluptuousness,
Lash the maiden into swooning, me they lash'd and humiliated,
Chop the breasts from off the mother, dash the brains of the little one out,
Up my Britons, on my chariot, on my chargers, trample them under us.'
 So the Queen Boadicea, standing loftily charioted,
Brandishing in her hand a dart and rolling glances lioness-like,
Yell'd and shriek'd between her daughters in her fierce volubility.
Till her people all around the royal chariot agitated,
Madly dash'd the darts together, writhing barbarous lineaments,
Made the noise of frosty woodlands, when they shiver in January,
Roar'd as when the rolling breakers boom and blanch on the precipices,
Yell'd as when the winds of winter tear an oak on a promontory.
So the silent colony hearing her tumultuous adversaries
Clash the darts and on the buckler beat with rapid unanimous hand,
Thought on all her evil tyrannies, all her pitiless avarice,
Till she felt the heart within her fall and flutter tremulously,
Then her pulses at the clamoring of her enemy fainted away.
Out of evil evil flourishes, out of tyranny tyranny buds.
Ran the land with Roman slaughter, multitudinous agonies.
Perish'd many a maid and matron, many a valorous legionary.
Fell the colony, city, and citadel, London, Verulam, Camulodune. 
~Tennyson
“I was thinking about an ice queen. Someone strong and noble and romantically powerful."


image of Boudicca here
McQueen images from the wonderful Vogue here

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savage lavender

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Alexander McQueen
SAVAGE BEAUTY





































Dress, Sarabande, from the spring-summer 2007 collection
Photograph: Solve Sundsbo/The Metropolitan Museum of Art








at the MET here
Savage Beauty at the Metropolitan Museum of Art, New York, runs 4 May to 31 July 2011, more than 100 works of art will be shown

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random

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 image from the World of Interiors







Anne Marie Saint make-up test




don't you have odds and ends about the house you should do something with?
no doubt.
it's like that here- things I want you to see and are a bit- late, odd, out of context- you know the sort.

for instance:


Asheville 
by de Kooning


 
 
 
 


 
Pietro Perugino















 







Snow White Lamentation
by Hurter




 
 
 
 
 
an enameled suit of armor








Is anything really random?
Is there meaning in a few words? images?
do we search, unrelenting, to make sense of it all?

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