John Galliano S/S 2003
It was a joie de vivre on the runway as inspirations from Indian culture were presented in celebratory ways. For his finalé, Galliano sent out models in over-sized jackets and massive ruffled dresses that were covered in tikka—colored powders that are thrown around in the religious Hindu festival of Holi.
Karen Elson @ Voss, Alexander McQueen S/S 2001
An ensemble of an overdress of panels from a nineteenth-century Japanese silk screen, an underdress of oyster shells, and a neckpiece of silver and Tahiti pearls designed by Shaun Leane.
Eshu, Alexander McQueen F/W 2000
This was McQueen’s first collection that was shown in Paris (instead of London). It was inspired by the pre-colonial Yoruba tribe of West Africa, mixing tribal details with luxurious fabrics to emphasize the raw power of clothes. The models wore heavy steel piercings and their hairlines were dusted with yellow powder. The clothes were mud-spattered, glass-beaded and shredded, the materials being a variety of leathers, horsehair, and cotton.
The film projection of Irere, Alexander McQueen S/S 2003
McQueen, as well as being a fashion designer, art-directed many photoshoots, he art-directed many films, and this film formed the backdrop to the collection “Irere” that told the story of a shipwreck at sea and a subsequent landfall in the Amazon. And it was peopled with characters like pirates, conquistadors, and Amazonian Indians. The film was shot by John Maybury and depicts a moment when a woman falls overboard in a dress that’s referred to as the “shipwreck dress.” As she’s floating down in the ocean, the strands of chiffon get tangled around her legs and arms like seaweed.
Erin O’Connor @ Voss, Alexander McQueen S/S 2001
“My friend George and I were walking on the beach in Norfolk, and there were thousands of razor-clam shells. They were so beautiful, I thought I had to do something with them. The shells had outlived their usefulness on the beach, so we put them to another use on a dress. Then Erin came out and trashed the dress, so their usefulness was over once again. Kind of like fashion, really.”
No. 13, Alexander McQueen S/S 1999
A white cotton muslin dress with an underskirt of white synthetic tulle, spray painted black and yellow by two robotic arms. Shalom Harlow acted as the canvas for the finalé, which was inspired from an installation by artist Rebecca Horn of two machine guns firing blood-red paint at each other.
John Galliano F/W 2007
This collection was a flashback to Galliano’s signature skills in his first years in Paris. The theme heavily referenced costumes that brought out deep-red Poiret-era coats whorled into asymmetric rose ruffles, high-waisted redingotes, flower-printed tea dresses, and a multiplicity of his classic bias-cut gowns, in everything from black velvet and sheer lace to face-powder pink and dusty-tangerine chiffon. The roll of credits included Stephen Jones’ millinery, Pat McGrath’s makeup, Julien d’Ys hair, and Michael Howells’ set design. All played crucial supporting roles in bringing the show to full cinematic form.
Les Vierges, Jean Paul Gaultier S/S 2007 Haute Couture
From first to last, every model wore a halo. Their faces were painted with tear drops and the clothes were inspired by the vernacular devotional art found in local churches throughout the Catholic world. Shorn of the odd bleeding Sacred Heart and communion chalice appliqué, there’s plenty in this collection that qualifies Gaultier couture at its best. The ingenious skews on church iconography seemed gently appreciative of its capacity for shining beauty.
What a Merry-Go-Round, Alexander McQueen F/W 2001
Flickering lights, the sound of children laughing, and pallid clown makeup was McQueen’s mise-en-scène of a carnival nightmare. The show was staged on a carousel with an eerie backdrop of giant stuffed animals, moving puppets, balloons, and ragged circus toys. When the frantic pace finally slowed down, several macabre characters emerged wearing massive ruffles, centuries-old suits, and beat up lace.
