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The installation curated by Andrew Bolton at the Metropolitan Museum of Art is absolutely wonderful, astonishing, extraordinary! The fashion designer Alexander McQueen borrowed the shape of the cuirass but made a few tweaks to the design. Being able to skip the queue and enjoy an extra hour before the museum opened was worth every tax-deductible dollar of membership.
She had a point: they were an adaptation of the crotch-emphasising trousers of gay porn, though their appeal endured long after the initial shock value.Also included is a pretty personal interview with Sarah Burton, current Creative Director of Alexander McQueen and the lady behind Duchess of Cambridge, Kate Middleton’s wedding dress, about the design process, McQueen’s influences and what it was like to work with a creative powerhouse. Bolton, Andrew, with Jan Glier Reeder, Jessica Regan, and Amanda Garfinkel; introduction by Theodore Martin; short story by Michael Cunningham; photography by Nicholas Alan Cope. Wilson convincingly argues that Janet became “the blueprint” for his clothes, a woman who was “vulnerable but strong”.
The other grievance repeatedly levelled at McQueen’s work in Britain – by the press more than the fashion world – was that it was misogynist. From the initial preparations to the final closing of the doors, our cameras were on-hand to capture exclusive behind-the-scenes glimpses of every aspect of the bloc.They showed us an invitation from one of McQueen’s last runway shows featuring a lenticular image, which shifted from a portrait of McQueen to a patterned skull depending on how we angled the card. McQueen created complex, digitally engineered prints inspired by sea creatures and introduced the towering ‘Armadillo’ boots.