4 Mayıs günü New York
Metropolitan Museum of Art : The Costume Instiute'
de
Alexander McQueen ' in kariyer hayatından seçilmiş 100 eserle
Savage Beauty sergisi 31 Temmuz' a kadar moda severlerlerin ziyaretine
sunuluyor. 2 gün önce bütün dünyaca izlediğimiz
Prens William ve
Kate
Middleton düğününde o hepimizin bayıldığı muhteşem gelinliğin imzası
Alexander McQueen' in kreatif direktörü
Sarah Burton ' a
aitti. Alexander McQueen isminin başarısı ölümünden sonra da devam
ediyor. Sergiye gidemeyecek olanlar için sergiden bir kaç fotoğraf..
Ensemble -The Hunger, Spring/Summer 1996
Beauty can come from the strangest of places, even the most
disgusting of
places.
-Times(London), February 12,2010-
Ensemble- Autumn/winter 2010–11
For me, what I do is an artistic expression which is channeled
through me. Fashion is just the
medium.
-Muse,December 2008-
Coat Dante, Autumn/Winter 1996–97
I spent a long time learning how to construct clothes, which is important to do
before you can deconstruct them.
-Self Service, Spring/Summer 2002-
Dress VOSS, Spring/Summer 2001
There’s blood beneath every layer of skin.
-The Observer Magazine, October 7, 2001-
Jacket Joan, Autumn/Winter 1998–99
My designing is done mainly during fittings. I change the cut.
-Self Service, Spring/Summer 2002-
Dress The Horn of Plenty, Autumn/Winter 2009–10
It is important to look at death because it is a part of life. It is a sad
thing, melancholy but romantic at the same time. It is the end of a
cycle—everything has to end. The cycle of life is positive because it gives room
for new things.
-Drapers, February 20, 2010-
Corset Dante, Autumn/Winter 1996–97
People find my things sometimes aggressive. But I don’t see it as aggressive. I
see it as romantic, dealing with a dark side of personality.
-W, July 2002-
Ensemble
Supercalifragilisticexpialidocious, Autumn/Winter 2002–3
This collection was inspired by Tim Burton. It started off dark and then got
more romantic as it went along.
-Numéro, July/August 2002-
“Coiled” Corset The Overlook, autumn/winter 1999–2000
I especially like the accessory for its sadomasochistic aspect.
-L’Officiel, February 2010-
Ensemble The Girl Who Lived in the Tree, autumn/winter 2008
I don’t really get inspired [by specific women]. . . . It’s more in the minds of
the women in the past, like Catherine the Great, or Marie Antoinette. People who
were doomed. Joan of Arc or Colette. Iconic women.
-Purple Fashion, Summer 2007-
Ensemble It’s Only a Game, Spring/Summer 2005
[In this collection] 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-
“Oyster” Dress Irere, spring/summer 2003
Working in the atelier [at Givenchy] was fundamental to my career . . . Because
I was a tailor, I didn’t totally understand softness, or lightness. I learned
lightness at Givenchy. I was a tailor at Savile Row. At Givenchy I learned to
soften. For me, it was an education. As a designer I could have left it behind.
But working at Givenchy helped me learn my craft.
-Purple Fashion, Issue 7, Summer2007-
Dress Sarabande,
spring/summer 2007
I liked the padded hips because they didn’t make the [piece] look historical,
but . . . more sensual. Like the statue of Diana with breasts and big hips. It’s
more maternal, more womanly.
-Purple Fashion, Issue 7, Summer2007-
Dress Sarabande, Spring/Summer 2007
Remember Sam Taylor-Wood’s dying fruit? Things rot. . . . I used flowers because
they die. My mood was darkly romantic at the time.
-Harper’s Bazaar, April 2007-
