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From Daphne Guinness to Karen Elson, everyone hauled out their vintage McQueen couture in celebration of the late designer last week at the MET Costume Gala. The party auspiciously launches “Savage Beauty,” a retrospective of Alexander McQueen’s functional art, now on display at the Metropolitan Museum of Art’s Costume Institute through July 31.
Signature designs are highlighted from his first collection in 1992 to the final runway show. His “kimono jacket” and “origami frock coat” are exhibited alongside dramatic clothing interpretations of fashion and style from the McQueen Archives in London, the Givenchy Archive in Paris, and lucky private collectors.
“Alexander McQueen’s iconic designs constitute the work of an artist
whose medium of expression was fashion,” said Thomas P. Campbell, The
MET’s Director. “This landmark exhibition
continues the Museum’s tradition of celebrating designers who changed
the course of history and culture by creating new possibilities.” There
is no question that with his outrageous design elements and extreme
attention to detail, McQueen was the king of wearable fashion drama.
Miami received a dose of the McQueen last winter when his skulled, hand-knotted designs exhibited at the Rug Company in the Design District during Art Basel.
And although
Sarah Burton was his right hand at the label for 14 years, the
now Creative Director’s famous dress for The Princess William of Wales
did not really reflect his design aesthetic (really more of a
traditional de la Renta or Herrera, than McQueen). They do have
craftsmanship in common, and the future of the brand seems certain due
to all of the positive press. Yet, one wonders if the man behind the
name would have done differently.
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