Alexander McQueen (1969–2010) is one of the most original fashion designers in recent history. Celebrated for his conceptual and technical virtuosity, McQueen’s critically acclaimed collections synthesised his proficiency in tailoring and dressmaking with visual references that spanned time, geography and media.

Showcasing more than 120 garments and accessories, Alexander McQueen: Mind, Mythos, Muse offers insight into McQueen’s far-reaching sources of inspiration, his creative processes and capacity for storytelling. Displayed alongside McQueen’s innovative designs are more than eighty artworks – spanning painting, sculpture, textiles, prints, photography and decorative arts – that help to illuminate the interdisciplinary impulse that defined his career. Drawn from the collections of the National Gallery of Victoria and the Los Angeles County Museum of Art – the exhibition reveals common themes and visual reference points that connect his practice with that of artists and designers throughout history. McQueen’s designs were always personal and complex responses to the world around him: he once stated, ‘Fashion is just the medium’. McQueen’s interests were broad and his inspirations both encyclopaedic and autobiographical: he was an avid reader of books on subjects that included, art, design, literature and history; a regular fixture in London’s queer club scene; a voracious consumer of cinema; and deeply passionate about the natural world. His love of fashion was evident from a young age, and was equally influenced by popular culture as by visits to museums. Throughout his career, McQueen distilled a multitude of ideas and experiences, bringing together seemingly disparate references to create collections that pushed far beyond the bounds of conventional fashion design.

Born in London’s East End in 1969, Lee Alexander McQueen was passionate about fashion and art from a young age. At just sixteen years old, he served an apprenticeship on Savile Row learning to cut and construct in the bespoke tailoring tradition. McQueen used these skills throughout his career in revolutionary ways. In 1989, McQueen enrolled in fashion design at Central Saint Martins College of Art and Design in London; in 1992, his entire graduate collection was purchased by the stylist Isabella Blow. A year later, he established his own label: Alexander McQueen.

From the beginning, McQueen’s collections combined autobiographical references with challenging silhouettes and ideas. His work tackled history, politics, religion, philosophy, violence and environmental destruction. These themes fuelled narratives amplified in highly sensational runway shows.

Openly gay and inspired by queer fashion history, McQueen frequently challenged traditional ideals of beauty through disruptive designs that transformed fashion industry standards. In 1993, he debuted his extremely low-waisted ‘bumsters’, which were cut inches below the hipline; in 1998, Paralympian Aimee Mullins walked McQueen’s runway in a pair of prosthetic legs elaborately carved from elm wood.

In the decade before his premature death in 2010, McQueen’s aesthetic was defined by its visceral qualities and technical proficiency; his distinctive shapes and complex cutting laid a foundation for clothing that delineated the body while simultaneously conferring agency to the wearer.

MYTHOS

Mythological and religious belief systems, along with wide-ranging cultural and historical references, inspired many of Alexander McQueen’s collections and highlight the impressive breadth of artistic source material that he drew upon.

The untitled collection, autumn–winter 2010–11, posthumously called Angels and Demons, references Christian iconography from the Byzantine Empire as well as the northern and Italian Renaissance. Through the collection, the existential dualities of heaven and hell, sin and redemption, and damnation and salvation are explored. Neptune, McQueen’s spring–summer 2006 collection, looks to ancient Greece and Rome to recast contemporary women as powerful and empowered warriors or goddesses, while Eye, spring–summer 2000, combines Western fashion with interpretations of dress and textiles traditionally associated with the Ottoman Empire (late thirteenth century to 1923).

By fusing religious symbols and silhouettes, historical secular dress and contemporary fashion, and costume and artistic traditions drawn from various cultures, McQueen developed a multifaceted vision.

UNTITLED (ANGELS AND DEMONS), AUTUMN–WINTER 2010–11

The collection’s posthumously attributed title derives from tweets McQueen posted just before his death (‘Hells Angels + Prolific Demons’) less than one month before the premiere of the collection in Paris on 10 March 2010. The exploration of heavenly and fallen angels has been interpreted as a reflection of McQueen’s mental health struggles. However, conflict, religion and finding meaning in ambiguity were themes that characterised his practice throughout his career.

With Angels and Demons, McQueen looked to the past ‘to find light and beauty’. Three-dimensional gilt embroideries and inventive Jacquard textiles borrow from Italian and northern Renaissance art, as well as Classical sculpture.

A celebration of craftsmanship, concept and beauty, the small collection was completed by McQueen’s womenswear studio – led by Sarah Burton, now the label’s creative director – and masterfully blends hightech elements with ancient history.

Alexander McQueen, Sarah Burton, Look 7, from the Untitled (Angels and Demons) collection, autumn–winter 2010–11, Hôtel de Clermont-Tonnerre, Paris, 10 March 2010 © Alexander McQueen © Catwalking.com. Model: Karlie Kloss.

Alexander McQueen (designer), Sarah Burton (designer), Jacket, 2010 (detail) from the Untitled (Angels and Demons) collection, autumn–winter 2010–11, Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2018 (M.2018.278.8). Photo © Museum Associates/LACMA.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 4, dress, 2010 {Angels and Demons collection, autumn-winter 2010–11}, silk (brocade, lining), metal (fastening),89.5 cm (centre back) 36.0 cm (waist, flat), National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty and the Campbell-Pretty Family through the Australian Government’s Cultural Gifts Program, 2018, 2018.1600 © Alexander McQueen.

Circle of Desiderio da Settignano, Florence, Fragment with two seraphim, c. 1460, marble, Los Angeles County Museum of Art, Los Angeles, William Randolph Hearst Collection, 1951 (51.18.3). Photo © Museum Associates / LACMA.

Circle of Desiderio da Settignano, Florence, Fragment with two seraphim, c. 1460, marble, Los Angeles County Museum of Art, Los Angeles, William Randolph Hearst Collection, 1951 (51.13.7). Photo © Museum Associates / LACMA.

Jan Mandijn, Saint Christopher and the Christ Child, c. 1550, oil on wood panel, Los Angeles County Museum of Art, Los Angeles. Gift of Mr and Mrs Ben Maddow, 1959 (59.48). Photo © Museum Associates / LACMA

Alexander McQueen (designer), Sarah Burton (designer), Dress, 2010, Untitled (Angels and Demons) collection, autumn–winter 2010–11, silk (satin, jacquard), metal (fastenings), Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2018 (M.2018.278.9). Photo © Museum Associates/LACMA.

Pieter van der Heyden (engraver), Hieronymus Cock (publisher), Pieter Bruegel the Elder (after), Christ’s descent into Limbo, c. 1561, engraving, Los Angeles County Museum of Art, Los Angeles, Mary Stansbury Ruiz Bequest, 1988 (M.88.91.440). Photo © Museum Associates/LACMA.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer). Look 3, dress and boots, 2010 {Angels and demons collection, autumn-winter 2010–11} (detail), silk, metal (thread), leather, plastic, (a) 88.0 cm (centre back) 33.0 cm (waist, flat) (dress) (b-c) 83.0 x 7.0 x 20.0 cm (each) (boots), National Gallery of Victoria, Melbourne, Gift of Krystyna Campbell-Pretty and the Campbell-Pretty Family through the Australian Government’s Cultural Gifts Program, 2017, 2017.595.a-c © Alexander McQueen.

EYE, SPRING–SUMMER 2000

McQueen’s Eye collection was inspired by Turkish music he first heard in a taxi, and by the greater Islamic community in London. The collection clashes body-conscious Western fashion with McQueen’s interpretations of Middle Eastern clothing, citing cultural and religious dress practices, as well as belly dancing costumes and contemporary soccer uniforms. These references can all be traced to lands once encompassed by the Ottoman Empire, as well as modern-day Turkey and the Persian Gulf.

Eye conflates a vast region of diverse peoples and histories into a single, sensational vision. In the collection are echoes of the legacy of Turquerie, an eighteenth century Western European fashion for imitating the beauty of Turkish culture in an idealised and reductive manner. Although the collection could be also interpreted as querying the value ascribed to clothing as a means of concealing or revealing women’s bodies, Eye offers no clear commentary on women’s agency.

Palestine, Hebron, Wedding headdress (Wuqayat al-darahim) or ‘Money hat’, 20th century, silver (coins), brass (coins), metal (chain, ornaments), cotton (thread), silk (thread), amber (beads), stone (beads), coral (beads), glass (beads), cowrie shells. Los Angeles County Museum of Art, Los Angeles Gift of B. Rich, 2012 (M.2012.188.36). Photo © Museum Associates/LACMA

Turkey, Liturgical veil (cover for chalice and paten set), second half of the 16th century, silk (satin, thread), silk and metallic thread (lampas), Los Angeles County Museum of Art, Los Angeles, Gift of Miss Bella Mabury, 1939 (M.39.2.478). Photo © Museum Associates / LACMA.

 Jean-Baptiste Greuze, Portrait of a lady in Turkish fancy dress, c. 1790, oil on canvas, Los Angeles County Museum of Art, Los Angeles, Gift of Hearst Magazines (47.29.6). Photo © Museum Associates / LACMA

 Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s top and pants, 1999, Eye collection, spring–summer 2000; top: silk and rayon twill weave with metal coins, pants: silk and rayon twill weave, length (top): 58.74 cm; length (pants): 102.24 cm. Los Angeles County Museum of Art, Los Angeles, Gift from the Collection of Regina J. Drucker, 2018, M.2018.278.23a–b. Photo © Museum Associates/LACMA.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s top and skirt, 1999, Eye collection, spring–summer 2000; top: wool twill weave, skirt: silk and rayon twill weave with silk warp patterning and rayon supplementary weft patterning; centre back length (top): 57.47 cm; centre back, length (skirt): 29.21 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2019, M.2019.399.6a–b. Headpiece by Michael Schmidt. Photo © Museum Associates / LACMA.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s dress, 1999 (detail)
Eye collection, spring–summer 2000, jacquard knit, rayon flock printed, length: 127 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2019; M.2019.399.7. Photo © Museum Associates / LACMA.

NEPTUNE, SPRING–SUMMER 2006

Named after the Roman god of water, Neptune draws upon imagery from the Classical period. Borrowing from representations of soldiers, gladiators and wrestlers, marble sculpture and architecture, as well as the deity of the sea himself, the collection underscored McQueen’s desire to impart strength to the women wearing his creations.

Neptune (and his Greek counterpart, Poseidon) was both turbulent and seductive, like the sea. In the collection’s runway presentation, McQueen married these concepts with a soundtrack featuring self assured musicians, including Missy Elliott, Aretha Franklin and Suzi Quatro. Neoclassical motifs such as columns, hippocamps (Hellenistic seahorses) and phoenixes connect McQueen to a long history of artists similarly inspired by the iconography and aesthetics of ancient Greek and Roman mythology.

Italy, Sicily, Hippocamp, 3rd century BC, earthenware, 17.5 × 31.1 × 8.3 cm. Los Angeles County Museum of Art, Los Angeles, Gift of Varya and Hans Cohn, 1992; 1992.152.13. photo © Museum Associates / LACMA.

DERBY PORCELAIN, Derby (manufacturer), Neptune, (c. 1800-1810), porcelain (soft-paste), gilt-metal; (a) 20.4 x 10.7 x 10.3 cm (figure) (b) 14.4 x 1.6 x 0.4 cm (trident). National Gallery of Victoria, Melbourne. The Colin Templeton Collection. Gift of Mrs Colin Templeton, 1942; 459.a-b-D4.

France, Textile length, 1820–40, silk satin and silk plain-weave double cloth, 189.2 × 55.5 cm. Los Angeles County Museum of Art, Los Angeles. Gift of Mr. and Mrs. John Jewett Garland, 1961; M.61.15. Photo © Museum Associates / LACMA.

Aimé-Jules Dalou (French 1838–1902), Caryatids of the Four Continents, c. 1867, patinated plaster, 88.9 × 20.3 × 20.3 cm. Los Angeles County Museum of Art, Los Angeles, Gift of Leona Cantor Palmer, 1982; M.82.197.1–.4. Photo © Museum Associates / LACMA

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s dress, 2005, Neptune collection, spring–summer 2006, silk knit and nylon net with beads, dimensions unknown. Los Angeles County Museum of Art, Gift of Regina J. Drucker. Photo © Museum Associates/LACMA.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Blouse, skirt and belt, 2005, Neptune collection, spring–summer 2006; blouse: cotton/lurex plain weave with mother-of-pearl buttons, skirt: cashmere/silk plain weave (crepe) with polyester and lurex plain weave, belt: leather, quilted, with metal buckle, centre back length (blouse): 74.93 cm; centre back length (skirt): 39.37 cm; belt: 14.29 × 77.47cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2016; M.2016.260.27a–c. Woman’s shoes, 2005, Neptune collection, spring–summer 2006, leather and metal, 45.72 × 8.89 × 23.5 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2020; M.2020.123.1a–b. Photo © Museum Associates/LACMA.

Alexander McQueen, Look 28, from the Neptune collection, spring–summer 2006, Imprimerie Nationale, Paris, 7 October 2005 © Alexander McQueen. Photo © Robert Fairer. Model: Jessica Stam.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s dress 2005 (detail), Neptune collection, spring–summer 2006, silk plain weave (crepe) with crystals, centre back length: 174.63 cm. Los Angeles County Museum of Art, Los Angeles, Gift from the Collection of Regina J. Drucker, 2016; M.2016.260.11. Photo © Museum Associates/LACMA

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s dress 2005, Neptune collection, spring–summer 2006, silk plain weave (crepe) with crystals, centre back length: 174.63 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker. 2016, M.2016.260.11. Headpiece by Michael Schmidt. Photo © Museum Associates/LACMA.

Alexander McQueen, Look 36, from the Pantheon ad Lucem collection, autumn–winter 2004–05, La Grande Halle de la Villette, Paris, 5 March 2004 © Alexander McQueen. Photo: Marcio Madeira / Vogue © Condé Nast. Model: Katerina.

FASHIONED NARRATIVES

Rooted in McQueen’s personal history and romanticised historical references, his narrative-driven collections explore themes of tradition, discovery, exchange, power, persecution, violence and metamorphosis.

The Widows of Culloden, autumn–winter 2006–07, mines McQueen’s Scottish ancestry, condemning British colonialism and violence in eighteenth-century Scotland. In Memory of Elizabeth How, Salem, 1692, autumn–winter 2007–08, traces the designer’s familial background to colonial Massachusetts to pay tribute to distant ancestors executed in the Salem witch trials.

The Girl Who Lived in the Tree, autumn–winter 2008–09, envisions a fairytale that ultimately traces the rhythms of power in the rise and fall of the British Raj in India, while Scanners, autumn–winter 2003–04, portrays a journey across Siberia, through Tibet, to Japan, via designs that borrow from textile and dress traditions of these regions.

THE WIDOWS OF CULLODEN, AUTUMN–WINTER 2006–07

This collection acknowledges McQueen’s Scottish ancestry and condemns Britain’s violent colonial history, particularly the brutal 1746 Battle of Culloden, where British troops defeated the Jacobite army, later storming villages and burning buildings housing the wounded. Reprising themes at the heart of his controversial Highland Rape collection from eleven years prior, autumn–winter 1995–96, McQueen’s The Widows of Culloden collection memorialises Highlander widows left behind.

The historical and romantic silhouettes and refined construction that characterise the collection draws upon traditional MacQueen tartan and Scotland’s natural landscape. An expertly draped green jersey dress recalls the colour of the moors; heavy wool tweed evokes gamekeeping traditions. McQueen’s use of plaid references its application in support of the Jacobite cause prior to the Battle of Culloden, reclaiming tartan not as a trophy of British conquest but as a symbol of Scottish identity. Through an intimate examination of melancholy, The Widows of Culloden also finds the beauty therein.

Peter GRAHAM, After the Massacre of Glencoe, 1889, oil on canvas, 123.2 x 175.8 cm. National Gallery of Victoria, Melbourne. Gift of James Graham Esq., 1889, p.315.1-1.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Ball gown 2006 {Widows of Culloden collection, autumn-winter 2006-07}, silk, crinoline, metal (fastenings),197.0 cm (centre back) 32.0 cm (waist, flat). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2021, 2021.91 © Alexander McQueen.

John Singleton Copley (American 1738–1815), Portrait of Hugh Montgomerie, Later Twelfth Earl of Eglinton, 1780, oil on canvas, 240.0 × 151.8 cm. Los Angeles County Museum of Art, Los Angeles. Gift of Andrew Norman Foundation and Museum, Acquisition Fund, 1968; M.68.74. Photo © Museum Associates/LACMA.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman's dress, 2006, The Widows of Culloden collection, autumn-winter 2006-2007, wool (jersey), leather, metal (buckle), centre back length: 106.68 cm; length (belt): 96.52 cm. Los Angeles County Museum of Art, Los Angeles, Gift from the Collection of Regina J. Drucker, 2017, M.2017.280.5a-b. Woman’s shoes, 2006, The Widows of Culloden collection, autumn-winter 2006-2007, leather, 16.51 × 24.77 cm. Los Angeles County Museum of Art, Los Angeles, Gift from the Collection of Regina J. Drucker, 2020; M.2020.122.23a-b. Headpiece by Michael Schmidt. Photo © Museum Associates/LACMA.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 7, dress 2006 {Widows of Culloden collection, autumn-winter 2007}, silk (chiffon), feathers (ostrich), metal (thread), acetate/polyamide, 118.0 cm (centre back) 37.0 cm (waist, flat). National Gallery of Victoria, Melbourne, Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government's Cultural Gifts Program, 2022; 2022.126 © Alexander McQueen.

Alexander McQueen Look 7, from the Widows of Culloden collection, autumn–winter 2006–07, Palais Omnisports de Paris-Bercy, Paris, 3 March 2006 © Alexander McQueen. Photo © Robert Fairer. Model: Natasha Poly.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s coat and belt 2006, The Widows of Culloden collection, autumn–winter 2006–07, coat: rabbit fur; belt: crocodile skin and metal, dimensions unknown. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker 2020, M.2020.122.27a–b. Woman’s blouse and skirt 2006, The Widows of Culloden collection, autumn–winter 2006–07, silk plain weave (chiffon), printed, dimensions unknown. Los Angeles County Museum of Art, Los Angeles, Gift from the Collection of Regina J. Drucker, 2020, M.2020.122.28a–b. Photo © Museum Associates/LACMA.

Alexander McQueen, Look 15, from the Widows of Culloden collection, autumn–winter 2006–07, Palais Omnisports de Paris-Bercy, Paris, 3 March 2006. © Alexander McQueen. Photo © Robert Fairer. Model: Ana Mihajlovic.

Alexander McQueen, Look 17, from the Widows of Culloden collection, autumn–winter 2006–07, Palais Omnisports de Paris-Bercy, Paris, 3 March 2006 © Alexander McQueen. Photo © Robert Fairer. Model: Julia Dunstall.

ALEXANDER MCQUEEN, London (fashion house),Alexander McQUEEN (designer), Look 44, coat 2006 {Widows of Culloden collection, autumn-winter 2006–07} (detail), silk (velvet), rayon, 134.0 cm (centre back) 79.0 cm (sleeve length). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2021; 2021.757 © Alexander McQueen.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 44, coat 2006 {Widows of Culloden collection, autumn-winter 2006–07}, silk (velvet), rayon, 134.0 cm (centre back) 79.0 cm (sleeve length). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2021; 2021.757 © Alexander McQueen.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Ball gown 2006 {Widows of Culloden collection, autumn-winter 2006-07}, silk, crinoline, metal (fastenings), 197.0 cm (centre back) 32.0 cm (waist, flat). National Gallery of Victoria, Melbourne.Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2021; 2021.91 © Alexander McQueen

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Ball gown 2006 {Widows of Culloden collection, autumn-winter 2006-07} (detail), silk, crinoline, metal (fastenings), 197.0 cm (centre back) 32.0 cm (waist, flat). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2021, 2021.91 © Alexander McQueen

Alexander McQueen, Look 50; Look 51; Look 47; Look 48, from the Widows of Culloden collection, autumn–winter 2006–07, Palais Omnisports de Paris-Bercy, Paris, 3 March 2006 © Alexander McQueen. Photo © Robert Fairer. Models: Hana Soukupova, Daria Werbowy, Gemma Ward, Raquel Zimmermann.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s ensemble (jacket, blouse, jabot, skirt, boots and belt) 2006 (detail), The Widows of Culloden collection, autumn–winter 2006–07; jacket: leather; blouse: cotton/elastane plain weave; jabot: silk plain weave (taffeta) with silk plain weave grosgrain ribbon; skirt: wool twill weave; boots: leather; belt: leather with metal and crystals; centre back length (jacket): 49.53 cm; centre back length (blouse): 64.77 cm; length (skirt): 83.82 cm; jabot: 20.32 cm; dimension per shoe: 26.67 × 24.13 × 9.53 cm; belt: 100.33 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2019; M.2019.399.12a–g. photo © Museum Associates/LACMA

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 33, dress 2006 {Widows of Culloden collection, autumn-winter 2006–07} (detail), wool, cotton, silk, metal (zip, buckle), leather; (a) 32.5 cm (waist, flat) 121.0 cm (centre back) (dress) (b) 12.0 x 94.0 cm (belt). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government's Cultural Gifts Program, 2019, 2019.458.a-b © Alexander McQueen

Alexander McQueen Look 25; Look 24, from the Widows of Culloden collection, autumn–winter 2006–07, Palais Omnisports de Paris-Bercy, Paris, 3 March 2006 © Alexander McQueen. Photo © Robert Fairer. Models: Irina Lazareanu, Marina Perez.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 30, dress 2006, {Widows of Culloden collection, autumn-winter 2006–07}, wool, cotton, silk, metal (fastening), 115.5 cm (centre back) 32.0 cm (waist, flat). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty and the Campbell-Pretty Family through the Australian Government’s Cultural Gifts Program, 2018; 2018.1599 © Alexander McQueen.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 38, dress 2006 {The Widows of Culloden collection, autumn-winter 2006–07}, wool, cotton (velvet), silk, tulle, lace, metal (zip), 100.0 cm (centre back) 37.0 cm (waist, flat). National Gallery of Victoria, Melbourne. Purchased with funds donated by Krystyna Campbell-Pretty AM and Family, 2022; 2022.778 © Alexander McQueen

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Trousers and shirt 2006-2007 {Widows of Culloden collection, autumn-winter 2006-2007}, wool, silk (crepe), curpo lycra (lining), synthetic fibre (laces), plastic (buttons), metal (fastening); (a) 62.5 cm (centre back) 69.0 cm (sleeve length) (shirt) (b) 85.0 cm (outer leg) 35.5 cm (waist, flat) (trousers). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2021;2021.97.a-b © Alexander McQueen

Alexander McQueen, Look 33; Look 37, from the Widows of Culloden collection, autumn–winter 2006–07, Palais Omnisports de Paris-Bercy, Paris, 3 March 2006 © Alexander McQueen. Photo © Robert Fairer. Model: Fabiana.

Alexander McQueen, Look 38; Look 40; Look 41 from the Widows of Culloden collection, autumn–winter 2006–07, Palais Omnisports de Paris-Bercy, Paris, 3 March 2006 © Alexander McQueen. Photo © Robert Fairer. Models: Natasha Poly, Querelle Jansen, Tanya Dziahileva.

THE GIRL WHO LIVED IN THE TREE, AUTUMN–WINTER 2008–09

Inspired by an ancient elm on McQueen’s East Sussex property and his travels to India, The Girl Who Lived in the Tree envisions a fairytale about a princess who descends from the tree’s branches to the ground. The story of the girl’s explorations spans the lives of Queen Victoria and Queen Elizabeth II, and the British Raj, with silhouettes and ornamentation drawn from both nineteenth-century and mid-twentieth-century English fashion. Further details are inspired by the opulent textiles, jewellery and motifs of Indian court dress. These references to a queen whose colonial reach no longer included the Indian subcontinent were purposely optimistic, resulting in a collection that symbolises hope for a girl emerging from darkness into the light.

Alexander McQueen, Look 22, from the Girl Who Lived in the Tree collection, autumn–winter 2008–09, Palais Omnisports de Paris-Bercy, Paris, 29 February 2008 © Alexander McQueen. Photo © Robert Fairer. Model: Danielle Hamm.

Linnaeus TRIPE, Madura, arcade in the quadrangle of Trimul Naik's Palace (1858) from the Photographs of Madura, Part III series 1858, albumen silver photograph, 31.7 x 27.7 cm (image and sheet). National Gallery of Victoria, Melbourne. Purchased through The Art Foundation of Victoria with the assistance of David Syme & Co. Limited, Fellow, 1982; PH124-1982.

India, probably Lucknow, Man’s Waist Sash (Patka), early 19th century, cotton plain weave with metallic-thread embroidery, beetle-wing (elytra) sequins, and silk braid, with metallic-thread fringe, 335.9 × 62.9 cm. Los Angeles County Museum of Art, Los Angeles. From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase, 1971, M.71.1.38. Photo © Museum Associates/LACMA.

England, Woman’s dress, c. 1820, cotton plain weave with metal-strip embroidery and silk gauze weave with metallic-thread and metal sequin passementerie and metallic-thread tassels, 128.3 cm (centre back). Los Angeles County Museum of Art, Los Angeles. Purchased with funds provided by Suzanne A. Saperstein and Michael and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. Shapiro, Grace Tsao, and Lenore and Richard Wayne, 2007. M.2007.211.734. Photo © Museum Associates/LACMA.

London, England, Fashion Plate, “A Lady of Hindoostan”, early 19th century, hand-coloured engraving on paper, 18.4 × 11.8 cm. Los Angeles County Museum of Art, Los Angeles. Gift of Dr. and Mrs. Gerald Labiner, 1986. M.86.266.18. Photo © Museum Associates/LACMA.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s dress and boots ​from the The Girl Who Lived in the Tree collection autumn–winter 2008–09, silk, crepe chiffon, net, glass beads, leather. Los Angeles County Museum of Art, Gift from the Collection of Regina J. Drucker - Headpiece by Michael Schmidt © Alexander McQueen. Photo © Museum Associates/LACMA

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s dress ​ from the The Girl Who Lived in the Tree collection autumn–winter 2008–09, silk/cotton (jacquard), silk (organza). Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2016. M.2016.260.20 - Woman’s boots (attributed to The Girl Who Lived in the Tree collection, autumn–winter 2008–09). Leather, plastic , metal. The Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker ​(M.2020.123.10a–b) © Alexander McQueen. Photo © Museum Associates/LACMA.

ALEXANDER MCQUEEN, London (fashion house),Alexander McQUEEN (designer), Look 40, dress 2008 {The girl who lived in the tree collection, autumn-winter 2008–09}, silk (chiffon, thread), tulle, plastic (boning), metal (hooks), 210.0 cm (centre back) 44.0 cm (waist, flat). National Gallery of Victoria, Melbourne. Purchased with funds donated by Krystyna Campbell-Pretty AM and Family, 2022. 2022.775 © Alexander McQueen.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s dress 2008, The Girl Who Lived in the Tree collection, autumn–winter 2008–09, silk/polyamide satin and silk tulle with metallic thread and metal-sequin embroidered appliqués, centre back length: 78.74 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2018. M.2018.278.13. Photo © Museum Associates/LACMA

IN MEMORY OF ELIZABETH HOW, SALEM, 1692, AUTUMN–WINTER 2007–08

One of McQueen’s distant relatives was executed in Salem in the deadliest witch hunt in colonial New England. Embracing witchcraft rather than shying away from it, the runway show for this collection also acknowledged the long history of paganism that the Salem Puritans decried. During the presentation, models walked along a black sandy stage, following the lines of a large red pentagram, a common symbol of Wiccan identity.

Two dresses encrusted with beads celebrate the wavy strands of hair typically shorn from women accused of practising witchcraft, to reveal any marks of Satan hidden underneath. Long symbolising women’s strength, unconfined hair connotes virility and freedom, as well as temptation and sin. The beading may also be interpreted as fire, referencing the European practice of burning witches at the stake. Associations of witchcraft, hair and fire are also reflected in Ernst Barlach’s woodblock print of Lilith, a figure recently recast as a symbol of feminine strength, a reconsideration that McQueen similarly posed with this collection.

Ernst Barlach (German 1870–1938), Lilith, Adam’s First Wife from the portfolio Goethe: Walpurgisnacht, 1922, published 1923, woodcut on Japan paper; image: 18.7 × 14.6 cm. Los Angeles County Museum of Art, Los Angeles. The Robert Gore Rifkind Center for GermanExpressionist Studies, purchased with funds provided by Anna Bing Arnold, Museum Associates Acquisition Fund, and deaccession funds, 1983. 83.1.34.2o. Photo © Museum Associates / LACMA.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s dress 2007, In Memory of Elizabeth How, Salem, 1692 collection, autumn–winter 2007–08, silk satin with glass beads centre back length: 150.5 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2019. M.2019.394.10. Photo © Museum Associates/LACMA

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s dress 2007, In Memory of Elizabeth How, Salem, 1692 collection, autumn–winter 2007–08, silk satin with glass beads centre back length: 150.5 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2019. M.2019.394.10. Photo © Museum Associates/LACMA

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s dress 2007, In Memory of Elizabeth How, Salem, 1692 collection, autumn–winter 2007–08, silk velvet with glass beads centre back length: 190.5 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2016. M.2016.260.10. Photo © Museum Associates/LACMA.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 45, dress 2007 {In memory of Elizabeth Howe, Salem 1692 collection, autumn-winter 2007-2008} (detail), viscose/rayon/silk (velvet), silk (lining), plastic (beads), 208.0 cm (centre back) 34.0 cm (waist, flat). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2021. 2021.763 © Alexander McQueen.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 45, dress 2007 {In memory of Elizabeth Howe, Salem 1692 collection, autumn-winter 2007-2008}, viscose/rayon/silk (velvet), silk (lining), plastic (beads), 208.0 cm (centre back) 34.0 cm (waist, flat). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2021. 2021.763 © Alexander McQueen.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 18, dress 2007 {In memory of Elizabeth Howe, Salem 1692 collection, autumn-winter 2007–08}, silk (satin), sequins and glass (beads),125.0 cm (centre back) 33.0 cm (waist, flat).National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government's Cultural Gifts Program, 2022. 2022.130 © Alexander McQueen

Alexander McQueen, Look 18, from the In Memory of Elizabeth How, Salem, 1692 collection, autumn–winter 2007–08, Zénith Paris, 2 March 2007. © Alexander McQueen. Photo © Robert Fairer. Model: Snejana Onopka

SCANNERS,AUTUMN–WINTER 2003–04

Scanners conveys a journey across the Siberian tundra, south through Tibet, and finally eastward to Japan. Punctuating McQueen’s narrative are designs that borrow from the textile traditions of these locations and mirror the vast region’s rich history of cultural exchange that occurred along Eurasian trade routes such as the Silk Road. Also influencing these designs was McQueen’s affinity for Japanese dress and his personal adoption of Buddhism.

McQueen’s appropriation of global dress styles can be understood as a commentary on politics or identity against a backdrop of rapid globalisation. A sumptuous fur coat evokes Siberian ‘soft gold’, with metallic trims reminiscent of gold-embellished Russian textiles. A brocade pattern of interlocking octagons and floral medallions (called kati rimo in Tibetan) illustrates movement into Tibet. And in Japan, where Scanners concludes, McQueen’s red, kimono inspired jacket with trompe l’oeil piecing recalls the patchworked mantles or kesa worn by Japanese Buddhist priests.

Probably Russia, Textile cover, early 18th century, silk (satin, chenille), silk and metallic thread (lampas, brocade), metallic thread (passementerie, fringe). Los Angeles County Museum of Art, Los Angeles. Gift of Anton Lourie, 1975 (M.75.68). Photo © Museum Associates/LACMA

Tibet,Trunk with brocade design (Kati Rimo), 17th–18th century,wood with mineral pigments; metal fittings, 56.5 × 113 × 43.2 cm.Los Angeles County Museum of Art, Los Angeles. Gift of Dr. Robert Hayward in memory of Ruth Sutherlin Hayward, 2013. M.2013.183.1. Photo © Museum Associates/LACMA.

Tibet.One of a pair of brocade design (Kati Rimo) temple hangings, 17th century, silk twill weave with silk supplementary-weft patterning bound in twill (lampas) and silk tassels, each: 137.2 × 17.8 cm. Los Angeles County Museum of Art, Los Angeles. Gift of Ruth Sutherlin Hayward and Robert W. Hayward in Honor of the 18th Birthday (April 25, 2007) of the 11th Panchen Lama, Gendun Choekyi Nyima, 2006. M.2006.156.

Japan, Buddhist Priest’s mantle (Kesa) (detail),late Edo to early Meiji period, 19th century,silk twill weave with silk and gilt-paper thread, supplementary-weft patterning, with gilt-paperwrapped silk thread embroidery, 113.7 × 202.6 cm. Los Angeles County Museum of Art, Los Angeles. Gift of Miss Bella Mabury, 1939. M.39.2.32. Photo © Museum Associates/LACMA.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Coat, skirt and boots 2003, Scanners collection, autumn–winter 2003–04, fur (rabbit, fox), silk (organza), metal (sequins, buckles), metallic thread, wool (damask, pompoms), leather. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2017. Photo © Museum Associates/LACMA.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s top 2003, Scanners collection, autumn–winter 2003–04, wool/cashmere knit, dimensions unknown. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2020. M.2020.122.3. Photo © Museum Associates/LACMA.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house),Woman’s boots 2002, Supercalifragilisticexpialidocious collection, autumn-winter 2002-2003,leather, metal (buckle), cotton, dimensions unknown. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2020. M.2020.123.9a-b (Accessory) © Alexander McQueen. Photo © Museum Associates/LACMA.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s jacket, 2003, Scanners collection, autumn–winter 2003–04,silk/rayon/polyester jacquard weave,dimensions unknown. Los Angeles County Museum of Art, Los Angeles.Gift from the Collection of Regina J. Drucker, 2019. M.2019.394.5 © Alexander McQueen. Photo © Museum Associates/LACMA

TECHNIQUE AND INNOVATION

Essential to every McQueen work is the designer’s foundation in garment construction. Demonstrating McQueen’s mastery of tailoring and dressmaking, the works in this gallery and the following illustrate the ongoing influence of his formative years spent cutting men’s suits as an apprentice tailor on Savile Row. McQueen’s dressmaking also features complex garment patterns, informed by skilful cutting and tactile sensitivity in draping.

McQueen’s deep knowledge of technique also enabled him to deconstruct clothing, resulting in designs that combine, in the words of Isabella Blow, ‘sabotage and tradition’. He learnt methods of deconstruction while working for experimental designers Koji Tatsuno and Romeo Gigli, while as head designer at Givenchy, he further refined his couture skills. These experiences culminated in designs strongly informed by McQueen’s hands-on approach to garment creation.

McQueen’s attention to detail was not limited to construction; it is also apparent in his inventive use of fabrics, surface treatments and embrace of emerging technologies, such as laser-cutting and digital printing, which have had a lasting impact on the fashion industry.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Coat 1996 {Dante collection, autumn-winter 1996}, wool, metallic braid, 137.0 cm (centre back) 60.0 cm (sleeve length). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government's Cultural Gifts Program, 2021. 2021.90  © Alexander McQueen

Alexander McQueen, Look 30, from the Dante collection, autumn–winter 1996–97, Christ Church, London, 1996
© Alexander McQueen. Photo © Robert Fairer. Model: Kristen McMenamy

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s dress 1996, Dante collection, autumn–winter 1996–97, acetate/nylon/elastane twill weave and nylon/elastane net, centre back length: 105.73 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2019. M.2019.394.3 © Alexander McQueen. Photo © Museum Associates/LACMA

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Woman’s dress 1997, Untitled (Golden Showers), spring–summer 1998, wool plain weave, centre back length: 85.41 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2019. M.2019.399.8 © Alexander McQueen. Photo © Museum Associates/LACMA.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Jacket 1998 {Joan collection, autumn-winter 1998–99}, cashmere, acetate, plastic (buttons), 62.0 cm (centre back) 68.0 cm (sleeve length). National Gallery of Victoria, Melbourne. Purchased with funds donated by Krystyna Campbell-Pretty AM and Family, 2022. 2022.773 © Alexander McQueen.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 18, jacket and skirt 1997 {La Poupée collection, spring-summer 1997}, cotton, acetate, polyester, elastane, metal and plastic (hardware, fastenings); (a) 47.0 cm (centre back) 83.0 cm (sleeve length) (jacket) (b) 63.0 cm (centre back) 33.5 cm (waist, flat) (skirt). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2021. 2021.754.a-b © Alexander McQueen.

Alexander McQueen, Look 18, from the Bellmer La Poupée collection, spring–summer 1997, Royal Horticultural Hall, London, 27 September 1996 © Alexander McQueen. Photo © Robert Fairer. Model: Astrid Muñoz.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 11, dress 1998 {Joan collection, autumn-winter 1998–99} (detail),wool, plastic (buttons),160.0 cm (centre back) 35.0 cm (waist, flat). National Gallery of Victoria, Melbourne. Purchased with funds donated by Krystyna Campbell-Pretty AM and Family, 2022. 2022.776 © Alexander McQueen.

Alexander McQueen, Look 11, from the Joan collection, autumn–winter 1998–99, Gatliff Road Warehouse, London, 25 February 1998 © Alexander McQueen. Photo © Robert Fairer. Model: Erin O'Connor.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Woman’s dress 2002, Irere collection, spring–summer 2003, silk/cotton plain weave (crepe chiffon),centre back: 119.38 cm; length: 204.47 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2020. M.2020.122.41 © Alexander McQueen. Photo © Museum Associates/LACMA.

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s dress 2004, Pantheon ad Lucem collection, autumn–winter,2004–05, silk/elastane plain weave (crepe chiffon), centre back: 97.79; overall: 147.32 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2020. M.2020.122.6 © Alexander McQueen. Photo © Museum Associates/LACMA.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer). Toile for dress 2006 {Widows of Culloden collection, autumn-winter 2006–07}, silk (taffeta), cotton (lace), metal (boning and fastenings), 150.0 cm (centre back) 29.0 cm (waist, flat). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government's Cultural Gifts Program, 2019. 2019.459 © Alexander McQueen.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer). Toile for dress 2006 {Widows of Culloden collection, autumn-winter 2006–07} (detail), silk (taffeta), cotton (lace), metal (boning and fastenings), 150.0 cm (centre back) 29.0 cm (waist, flat). National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government's Cultural Gifts Program, 2019. 2019.459 © Alexander McQueen.

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Woman’s jacket 2002 (detail) Supercalifragilisticexpialidocious collection, autumn–winter 2002–03, wool plain weave and wool knit, cord quilted, with leather, centre back length: 66.04 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2020. M.2020.122.25 © Alexander McQueen Photo © Museum Associates/LACMA

ALEXANDER MCQUEEN, London (fashion house),Alexander McQUEEN (designer), Woman’s jacket 2002, Supercalifragilisticexpialidocious collection, autumn–winter 2002–03, wool plain weave and wool knit, cord quilted, with leather, centre back length: 66.04 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2020. M.2020.122.25 - Woman’s jeans 2002, Supercalifragilisticexpialidocious collection, autumn–winter 2002–03, cotton/elastane twill weave (denim) and leather, inseam: 77.47 cm. Los Angeles County Museum of Art, Los Angeles
Gift from the Collection of Regina J. Drucker, 2020. M.2020.122.24 - Woman’s boots 2006, The Widows of Culloden collection, autumn-winter 2006–07, leather, 55.88 × 8.89 × 23.5 cm. Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker, 2020. M.2020.122.33a–b © Alexander McQueen. Photo © Museum Associates/LACMA

Lee Alexander McQueen (designer),Alexander McQueen, London (fashion house),Woman’s dress 2003, Scanners collection, autumn–winter 2003–04,silk/spandex plain weave (crepe) with leather and metal zippers, centre back length: 111.13 cm.Los Angeles County Museum of Art, Los Angeles. Gift from the Collection of Regina J. Drucker,2020.M.2020.122.40 © Alexander McQueenPhoto © Museum Associates/LACMA

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 41, dress 2002 {Supercalifragilisticexpialidocious collection, autumn-winter 2002–03}, silk, cotton, elastance, nylon, leather, 118.0 cm (centre back) 32.0 cm (waist, flat).National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government's Cultural Gifts Program, 2019. 2019.960 © Alexander McQueen

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 41, dress 2002 {Supercalifragilisticexpialidocious collection, autumn-winter 2002–03} (detail), silk, cotton, elastance, nylon, leather, 118.0 cm (centre back) 32.0 cm (waist, flat).National Gallery of Victoria, Melbourne. Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government's Cultural Gifts Program, 2019. 2019.960 © Alexander McQueen

Alexander McQueen Look 44, from the Supercalifragilisticexpialidocious collection, autumn–winter 2002–03, La Conciergerie, Paris, 9 March 2002 © Alexander McQueen © Catwalking.com. Model: Tetyana Brazhnyk

ALEXANDER MCQUEEN, London (fashion house), Alexander McQUEEN (designer), Look 44, dress 2002 {Supercalifragilisticexpialidocious collection, autumn-winter 2002–03} (detail), polyester, cotton, silk, nylon, acetate, metal (hooks), 85.0 cm (centre back) 32.0 cm (waist, flat). National Gallery of Victoria, Melbourne © Alexander McQueen.

COSTUME HISTORY

McQueen regularly turned to Western costume history for inspiration, refashioning men’s and women’s dress, textiles and embellishments from past eras ranging from the Renaissance and the Enlightenment to the Belle Époque and the Jazz Age.

His interest in, and adaptation of, historical silhouettes, textiles and trims greatly influenced the storylines of McQueen’s collections, which were often inspired by historical prints, fashion plates and paintings, as well as the contemporary film genres of sci-fi and horror through to fantasy and period drama.

MORRIS & CO., London (retailer), Henry HOLIDAY (designer), Catherine HOLIDAY (embroiderer), Hanging (1887) (detail), linen, silk (thread), 190.0 x 98.5 cm. National Gallery of Victoria, Melbourne. Purchased, 1976. D150-1976.

MORRIS & CO., London (retailer), Henry HOLIDAY (designer), Catherine HOLIDAY (embroiderer), Hanging (1887) (detail), linen, silk (thread), 190.0 x 98.5 cm. National Gallery of Victoria, Melbourne. Purchased, 1976. D150-1976.

MORRIS & CO., London (retailer), Henry HOLIDAY (designer), Catherine HOLIDAY (embroiderer), Hanging (1887), linen, silk (thread), 190.0 x 98.5 cm. National Gallery of Victoria, Melbourne. Purchased, 1976. D150-1976.

SURFACE DECORATION

Alexander McQueen’s use of inventive fabrics, surface treatments and photorealist imagery expresses his appreciation for both historical and emerging technology. The Natural Dis-tinction, Un-Natural Selection collection, spring–summer 2009, was pioneering in its use of digitally engineered and printed textile designs to reinforce McQueen’s artistic concepts. Other surface treatments, such as quilting, beading and fringing, were inspired by McQueen’s fashion predecessors, including Charles James, or muses, like his friend and patron Isabella Blow.

DANGEROUS BODIES