Escher, a Dutch graphic artist who made mathematically inspired woodcuts, lithographs, and mezzotints. One of McQueen's most famous motifs was the skull, which can be seen on this "knucklebag. His iconic skull scarf became a celebrity must-have and was copied around the world. The deep-red dress below is from McQueen's asylum-themed "Voss" collection and is made from red feathers and glass microscope slides. It was also his most celebrated and dramatic catwalk show, and involved a large glass box in which they audience were left to sit looking at their reflection for an hour.
Finally, after an hour, lights came on and the show started. At the end, the walls of a giant cube at the centre of the stage began to lower to reveal a naked model on a chaise lounge with her face obscured by a gas mask, surrounded by moths. He experimented with materials. McQueen was capable of using unusual textiles, finishes, trim, and even elements not typically incorporated into wearable designs, and crafting beautifully finished pieces with them. And he used materials that seemed messy or casual - like raw edges and spray-painted fabrics - to create incredibly elegant clothing.
Seeing this inspires me to consider any and every way that I can utilize my materials … what have I not thought of doing with them? Can they be bent differently? Joined differently? Finished or juxtaposed in new ways? He told stories. Some of these stories made people feel uncomfortable, but they all evoked real emotion. As a true couturier, he would design by draping fabric over the mannequin and fitting from there.
Models were apparently frightened when they saw him get the scissors out to do his signature cuts and slashes on a garment. He would also design from the side. That way I get a cut and proportion and silhouette that works all the way around the body. His first collection called Highland Rape was initially not well-received by the fashion press, who called it "aggressive and disturbing.
The clothes themselves were also controversial. Blood-spattered models in ravaged lace dresses, Scottish tartan , and provocative tailoring appeared distraught on the runway strewn with heather and bracken.
One garment, nicknamed the "bumster," was an extreme low-rise pant that gained popularity during the early s trend of low-rise jeans. To McQueen, the base of the spinal column was the most interesting part of the body. After producing eight collections, McQueen was offered the position of creative director at Givenchy in , succeeding John Galliano.
Upon his arrival, McQueen showed no restraint, calling the brand "irrelevant" to the founder, Hubert de Givenchy. His first couture collection, inspired by Greek antiquity, was unsuccessful he himself called it "crap. While he never fully represented himself at Givenchy, McQueen was able to unleash his avant-garde genius for his own line.
In , McQueen showed his 13th collection, titled No. Only McQueen could turn something as stodgy as houndstooth into an envelope-pushing affair that sparked a big trend for black and white checks with his fall collection.
The trashcan hairdos and oversize red lips were also as wild as you'd expect from such an absolute master of creativity. His spring collection was hailed as "nothing short of monumental" by style.
The effect was pure drama. McQueen was discovered by Isabella Blow, a fashion fanatic who bought his first graduate collection in its entirety back in which she reportedly paid off in pound installments each week.
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