“Savage Beauty,” a retrospective of Alexander McQueen’s stunning work, opens at the Costume Institute on May 4th.
Creative director Sarah Burton shares with Vogue US her memories of working at the late designer’s side. I had posted about this event before somewhere in April of this year. And I know I haven't been keeping myself up to date with the dates... So I just want to share this story again before May ends.
Photographed by Steven Meisel, featuring Coco Rocha, Karen Elson, Stella Tennant, Caroline Trentini and Raquel Zimmerman.
“The collection was about the 1745 massacre of the Scottish Jacobites by the English, which Lee felt so passionately about because of his Scottish family heritage, which his mother had researched. The women were the widows of the slaughtered army. This dress was actually based on my wedding dress—I got married two years earlier. We had to figure out how to make lace work in the round with those ruffles because Lee hated gathering. So we cut out all of the flowers from the lace and reappliquéd it on tulle to make our own fabric. This is the collection most people remember as the one with Kate Moss in a hologram."
“So much of this show was about the collective madness of the world. It was presented in a two-way mirrored glass box in London, and the girls had bandaged heads, acting like inmates of a mental asylum. Lee wanted the top of this dress to be made from surgical slides used for hospital specimens, which we found in a medical-supply shop on Wigmore Street. Then we hand-painted them red, drilled holes in each one, and sewed them on so they looked like paillettes. We hand-painted white ostrich feathers and dip-dyed each one to layer in the skirt.”
Creative director Sarah Burton shares with Vogue US her memories of working at the late designer’s side. I had posted about this event before somewhere in April of this year. And I know I haven't been keeping myself up to date with the dates... So I just want to share this story again before May ends.
Photographed by Steven Meisel, featuring Coco Rocha, Karen Elson, Stella Tennant, Caroline Trentini and Raquel Zimmerman.
WIDOWS OF CULLODEN, FALL 2006
“The collection was about the 1745 massacre of the Scottish Jacobites by the English, which Lee felt so passionately about because of his Scottish family heritage, which his mother had researched. The women were the widows of the slaughtered army. This dress was actually based on my wedding dress—I got married two years earlier. We had to figure out how to make lace work in the round with those ruffles because Lee hated gathering. So we cut out all of the flowers from the lace and reappliquéd it on tulle to make our own fabric. This is the collection most people remember as the one with Kate Moss in a hologram."
VOSS, SPRING 2001
“So much of this show was about the collective madness of the world. It was presented in a two-way mirrored glass box in London, and the girls had bandaged heads, acting like inmates of a mental asylum. Lee wanted the top of this dress to be made from surgical slides used for hospital specimens, which we found in a medical-supply shop on Wigmore Street. Then we hand-painted them red, drilled holes in each one, and sewed them on so they looked like paillettes. We hand-painted white ostrich feathers and dip-dyed each one to layer in the skirt.”
SARABANDE, SPRING 2007
“The collection was based on Handel’s
‘Sarabande’ in the film Barry Lyndon. It was held in the round at the
Cirque d’Hiver Bouglione in Paris, with classical musicians playing
onstage under a giant chandelier. This dress had fresh flowers on it.
We put them on just before she went out, and they started to fall off
one by one as she walked. I remember people saying Lee timed it. We had
a laugh about that. It was an accident!”
IT’S ONLY A GAME, SPRING 2005
“All the girls were dressed as chess
pieces, and the show was choreographed as a chess game. It was about
the chessboard of fashion. Lee did have foresight and a sense of humor!
This is one of the two horse pieces. He made it by commissioning Steve
Powell, a hospital prosthetics expert, to make the body. And the
horsetails were from the same suppliers who make the plumes for the
queen’s Royal Horse Guards.”
VOSS, SPRING 2001
“This is a straitjacket, a kimono with the
sleeves strapped around the back, embroidered with raised birds and
flowers, and the flowers on the hat were real. I saved all the
showpieces from every collection because I’m an obsessive, obsessive
hoarder. Sometimes Lee would look at them again, just to remember what
he’d done with something. It was his dictionary he was building,
really.”
