Tuesday 6 November 2012

The runway star, Julia Nobis


The runway star, Julia Nobis (she conquered the Spring Summer 2012 and Fall Winter 2012 season as the model who walked the most runways!), was photographed by Benny Horne in Dandenong Ranges, Victoria, with horse racing sensation, Black Caviar, for the December 2012 cover of Vogue Australia.

The Australian born model is wearing a black and gold Resort 2013 dress from Alexander McQueen on the cover.

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Wednesday 3 October 2012

I just can’t get enough of…


Alexander McQueen!

{Alexander McQueen Fall/Winter 2011/12 Collection}

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Wednesday 3 October 2012

An ode to “The Ice Queen and Her Court”


Ice queen inspiration :: Alexander McQueen Fall/Winter 2011/12 Collection ~ I’m coveting it all!

“I was thinking about an ice queen. Someone strong and noble and romantically powerful.”

Sarah Burton describing her Alexander McQueen’s Fall/Winter 2011 collection.

Inspired by ‘The Ice Queen and her Court’

the muse of the collection is strong yet beautiful, regal yet romantic – all beautifully translated into the collection.

And there was a Gothic Ice Queen along with bondage harnesses and exposed zippers that graced the catwalk.


{Alexander McQueen Fall/Winter 2011/12 Collection. Visit the official Alexander McQueen website, here.}


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Wednesday 3 October 2012

sculpture is fashion :: McQueen


Alexander McQueen creations are amazing paper-like sculptures draping the body.  Just divine!

{Alexander McQueen Fall/Winter 2011/12 Collection}

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Friday 6 May 2011

Daphne Guinness dressing for McQueen


Style icon, and performance artist Daphne Guinness blurred the line between fashion, art, and pre-party primping when she dressed for the Costume Institute Gala Benefit in Barneys’ Manhattan flagship window, emerging in a pale-gray duck and ostrich feathery McQueen gown.

Donning an Alexander McQueen creation in a live art performance, her intention was to

‘both honor his memory and bring his unparalleled artistic vision to life once again.’

“I went for a meeting with Dennis Freedman, the creative director of Barneys, and to my considerable astonishment found myself agreeing to his exciting but giddying proposition to hand over the windows of Barneys for a six-week run starting May 2 to showcase pieces from my own collection that have special resonance for me,” she told US Vogue. “What was I thinking? As the crowning moment of the installation, I will be getting dressed and readied for the Costume Institute Gala in the windows — me as performance art! I am hoping that my costume (McQueen, of course), will fit.”

Donning a design by Alexander McQueen, she will both honor his memory and bring his unparalleled artistic vision to life once again.

Rather than get ‘frocked-up’ in the comfort of her own boudoir for the coveted event,

Ms Guinness chose to get ready in front of the crowds who gathered in front of the iconic Barneys window,

where they watched her ‘dressing’ performance silhouetted in a sheer pane,

captured here by the New York Post, and the exit here.

Starting with a revealing gold bodysuit, Guinness eerily slithered across the window display with her face and head wrapped in sheer scarves before slinking into a cubicle of frosted glass. ‘To be covered expresses part of her grief,’ said Dennis Freedman, Barneys’ creative director.

And true to her word, the dramatic spectacle culminated with the gown which Guinness wore to the Met Ball that evening – a lilac feathered creation with exaggerated hips designed by Sarah Burton and first paraded onAlexander McQueen’s S/S ‘11 catwalk last October. As for the finishing touch, the scarves were unravelled to reveal that signature lightning bolt of silver in her jet black hair, before she was whisked off to the festitivies in an open top car.


If you are lucky enough to be in New York, you may catch a glimpse of Daphne during the six-week installation as she will return to the Barneys flagship windows several times. Each appearance will be streamed live on  thewindow.barneys.com.

{Images 1. Daphne Guinness: The Real Daphne Guinness – Bazaar March 2011 by David Bailey;  2-7 via Grazia Dailydaphne guinness}

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Friday 6 May 2011

Inside the MET Gala


The Ultimate Behind the Scenes Look at the Met Gala 2011

Walk up the red-carpeted stairs, step inside the Metropolitan Museum of Art, and check out the biggest party of the year. Get a peek at the featured exhibit, “Alexander McQueen: Savage Beauty,” and view the never-before-seen performance of Florence + the Machine inside the Temple of Dendur…

And the day before the unveiling of “Alexander McQueen: Savage Beauty”, William Norwich slipped inside the doors of the Metropolitan Museum of Art to find out what, exactly, is required to pull off the party of the year. There—amid a fashionable frenzy—he captured the scene, interviewing key players (from Vogue Special Events Director Sylvana Ward Durrett to decor director Raúl Àvila to curator Andrew Bolton) about planning one of fashion’s biggest events—and just how much they still had to do with mere hours left on the clock. See it here.

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Friday 6 May 2011

Alexander the Great


Savage Beauty {Part 11} :: celebrating the late Lee Alexander McQueen’s extraordinary contribution to fashion. For McQueen fashion was an art form, and his runway shows were theatrical productions.

“What I realize that he created a world for himself where he could do anything he wanted to do, with no constraints.” Sarah Burton, Creative Director of Alexander McQueen

Shocking, visionary, artist, fashion designer, impeccable tailor

~ Alexander McQueen is honoured at the Metropolitan Museum of Art Costume Institute in an exhibition that recognises the iconic work of the late British designer and courtier. The exhibition recognises the iconic work of the late British designer and courtier Lee Alexander McQueen, known for the strong, sensual, provocative, technically complicated and beautifully crafted designs of his 19-year career.

Alexander McQueen was best known for his astonishing and extravagant runway presentations, which were given dramatic scenarios and narrative structures that suggested avant-garde installation and performance,” said Andrew Bolton, Curator of The Costume Institute. “His fashions were an outlet for his emotions, an expression of the deepest, often darkest, aspects of his imagination. He was a true romantic in the Byronic sense of the word – he channeled the sublime.”

An elegant tribute to the Scottish Highlands of his ancestry ~ jeweled gowns, billowing velvet capes and gorgeous tartans.

Dress, Sarabande, spring/summer 2007
“Remember Sam Taylor-Wood’s dying fruit? Things rot…I used flowers because they die. My mood was darkly romantic at the time.” Lee Alexander McQueen

At the time of the show, the dress was covered in fresh flowers ~ “We put them on just before [the model] 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!” Sarah Burton

Ensemble, Dante, autumn/winter 1996–97

The Costume Institute’s “Alexander McQueen: Savage Beauty” exhibit at New York’s Metropolitan Museum of Art is insanely beautiful, intensely dramatic, and — most importantly — profoundly moving.  Spanning from McQueen’s Central Saint Martins graduation collection to his posthumous autumn/winter 2010-11 show, the exhibit celebrates an extraordinary and prolific career cut tragically short. VOGUERISTA

Approximately 100 ensembles and 70 accessories are on display including some of his signature designs such as the bumster trouser, kimono jacket and the origami frock. The seven galleries within the exhibition explore the recurring themes of his work:

“The Romantic Mind, Romantic Gothic, The Cabinet of Curiosities, Romantic Nationalism, Romantic Exoticism, Romantic Primitivism, and Romantic Naturalism.”

The opening room shows early works that emphasise his impeccable hand at tailoring, learned during his time apprenticing on Savile Row, and moves into the opulent, provocative works.

‘Dante’, ‘Banshee’, ‘Highland Rape’, ‘The Widows of Culloden’, ‘Horn of Plenty’ – pieces from all those collections which were staged and presented as performance art and techno-theatre, first in London, then in New York, then Paris. A 40ft oak tree, representing McQueen’s relationship with the forces of nature, stands in the foyer of the Met, recalling another collection, ‘The Girl Who Lived in The Tree’; a theme which has been carried through in the use of heather and boxwood hedging, by Raul Avila, with Gainsbury and Bennett. Hilary Alexander

The “Cabinet of Curiosities” includes various atavistic and fetishized objects such as woodcock wings, rubber, copper and quills, often produced with milliner Philip Treacy and jeweler Shaun Leane, longtime collaborators of McQueen’s: ~ a flurry of butterflies from Philip Treacy, Samurai armor inspired headpieces, sculpted shoes in the shape of a mutated spine.  A glass case encloses the hologram of Kate Moss, realised by Baillie Walsh for the autumn/winter 2006 collection. Also included is the infamous trapeze-like dress worn by Shalom Harlow for the Spring 1999 show.  She was spun around mechanically on the runway and spray painted with robotic nozzles.

Dress, No. 13, spring/summer 1999
“[The finale of this collection] was inspired by an installation by artist Rebecca Horn of two shotguns firing blood-red paint at each other.” Lee Alexander McQueen

    The fashion Oscars

    Alexander McQueenSavage Beauty” was launched at the annual Costume Institute Benefit Gala, known as the Met Ball. This fundraising event is The Costume Institute’s main source of annual funding for exhibitions, acquisitions, and capital improvements. Numerous celebrities walked the red carpet.  The gala evening was hosted by  Honorary Chairs Francois-Henri Pinault, the CEO of PPR, which owns the McQueen brand, and his wife, Salma Hayek, with Colin Firth, Stella McCartney and Anna Wintour as co-chairs.


    The exhibition is organized by Andrew Bolton, curator, with the support of Harold Koda, curator in charge, both of the Met’s Costume Institute. Sam Gainsbury and Joseph Bennett, the production designers for Alexander McQueen’s fashion shows, serve as the exhibition’s creative director and production designer, respectively. Sam Gainsbury’s company Gainsbury & Whiting was responsible for the ground-breaking, sense shattering runway shows McQueen staged over the years. All head treatments and masks are designed by Guido Palau.

    Photography by Sølve Sundsbø, who shot ensembles from the McQueen archive on live models, then retouched the images to make them look like mannequins, courtesy of The Metropolitan Museum of Art.


    {Images via iiiinspiredmad alice style}

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    Friday 6 May 2011

    it’s a McQueen world


    McQueen continues to be celebrated ~ the MET’s Savage Beauty exhibition and gala opening, Daphne Guinness dresses in Barneys’ Madison Ave window, and oh, THAT Royal wedding dress.

    McQueen’s legacy is his artistry ~ fashion is art, and that clothes can be layered in meaning and beauty.

    I hope the extraordinary Alexander McQueen is relishing all the love in spirit…

    Alexander McQueen

    Savage Beauty

    It’s hard to believe that a year has passed since the death of Alexander McQueen. The extraordinary designer hanged himself on the eve of his mother’s funeral. He was just 40 years old. McQueen had been battling depression, but few expected such a drastic turn from the young designer who was at the height of his very successful career.

    mcqueen at the met

    “I find beauty in the grotesque, like most artists. I have to force people to look at things.”

    This week the Metropolitan Museum of Art mounted a retrospective of McQueen’s designs that span from his student work of the early 1990s to his last days. The exhibition celebrates the late Alexander McQueen’s extraordinary talent, featuring many of the designer’s iconic designs drawn from the Alexander McQueen Archives in London and Paris as well as private collections.

    The Costume Institute’s ‘Alexander McQueen: Savage Beauty’ exhibit at New York’s Metropolitan Museum of Art is insanely beautiful, intensely dramatic, and — most importantly — profoundly moving.  Spanning from McQueen’s Central Saint Martins graduation collection to his posthumous autumn/winter 2010-11 show, the exhibit celebrates an extraordinary and prolific career cut tragically short. feature many of the designer’s iconic designs drawn from the Alexander McQueen Archives in London and Paris as well as private collections.feature many of the designer’s iconic designs drawn from the Alexander McQueen Archives in London and Paris as well as private collections. Julia Rubin, Styleite

    Take a walk through the exhibition with curator Andrew Bolton.

    Vogue included six looks from the exhibition, all captured by legendary photographer Steven Meisel. The fantastic shots{some are below}, feature models who were friends of the designer, including Coco Rocha, Karen Elson, Stella Tennant, Karlie Kloss, Caroline Trentini, and Raquel Zimmerman.

    Mr. McQueen challenged and expanded the understanding of fashion beyond utility to a conceptual expression of culture, politics, and identity. His iconic designs constitute the work of an artist whose medium of expression was fashion. Approximately one hundred examples will be on view, including signature designs such as the bumster trouser, the kimono jacket, and the Origami frock coat, as well as pieces reflecting the exaggerated silhouettes of the 1860s, 1880s, 1890s, and 1950s that he crafted into contemporary silhouettes transmitting romantic narratives. Technical ingenuity imbued his designs with an innovative sensibility that kept him at fashion’s vanguard. The Met

    After reading the review by Julia Rubin, styleite re-posted below, I really want to jump on a plane to New York!

    McQueen’s work gave us insight into a creative mind consumed by passion, beauty, darkness, and drama. While viewing clothes in fashion editorials and runway videos is often the way we experience his (and all) collections, it goes without saying that nothing compares to seeing the pieces in person. And for all the excitement of his runway shows, it is only through an exhibition such as this one that the clothing can be fully analyzed and absorbed. There is nothing quite like being greeted by two magnificent creations from the VOSSspring/summer 2001 collection, and actually seeing a dress made out of ostrich feathers and glass medical slides alongside one made of razor-shell clams. In photos, they impress; in person, they mesmerize.

    For the most part, the exhibit’s curation veers away from gimmicky built environments, allowing McQueen’s exquisite craftsmanship to steal the show. The galleries are organized thematically, but there is a nice sense of chronology, with the first gallery including pieces from his graduation collection (Jack the Ripper Stalks His Victims, 1992) and the last featuring a row of mannequins modeling looks from the final collection he bowed (Plato’s Atlantis, spring/summer 2010).

    One gallery is devoted almost entirely to the hats, shoes, jewelry, and bodypieces that McQueen both produced and commissioned to complement his clothes; Philip Treacy’s headwear and Shaun Leane’s metalworks are obvious standouts. Another gallery is narrow and mirrored with mannequins on revolving platforms, while yet another focuses on his “romantic nationalism” by showcasing his Scottish-themed collections (including autumn/winter 1995-96’s Highland Rape). There are pieces from his time at Givenchy, as well as a miniature version of the Kate Moss hologram from his autumn/winter 2006-07 Widows of Culloden show.

    The soundtrack — largely orchestral with dramatic show music mixed in — only adds to the haunting nature of the work in question. Videos made for various runway shows are sprinkled throughout, and quotes from McQueen are posted alongside the gallery identifications.

    Dress, Widows of Culloden, autumn/winter 2006–7

    “When we put the antlers on the model and then draped over it the lace embroidery that we had made, we had to poke them through a £2,000 piece of work. But then it worked because it looks like she’s rammed the piece of lace with her antlers. There’s always spontaneity. You’ve got to allow for that in my shows.” Lee Alexander McQueen

    Sarah Burton Talks McQueen

    Designer of the moment, Sarah Burton spoke to Vogue about the vision behind McQueen’s most iconic collections. It’s a candid look at what it was like to work with someone as creative as McQueen, someone for whom dip-dying medical slides and sourcing horsetails from the Queen is not an unreasonable idea. But it was equally fascinating to hear that Burton’s own wedding dress was once a source of inspiration for the late designer.

    Of McQueen’s “Widows of Culloden” collection (above), Burton told Mower:

    “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. Oh, my God, it was so beautiful. He loved that show.”         Sarah Burton Reminisces About Alexander McQueen for Vogue via styleite

    “Alexander McQueen: Savage Beauty” is on view until July 31 at the Met. For more, The Met has a great blog.

    {Images via The Backseat StylersOlivia’s Obsession. Note: mannequin photos by Sølve Sundsbø, who shot ensembles from the McQueen archive on live models, then retouched the images to make them look like mannequins}

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    Friday 29 April 2011

    Fit for a McQueen


    If I was Kate Middleton I’d choose Sarah Burton of Alexander McQueen to design my gown.

    McQueen Fall/Winter 2011:

    Sarah Burton Turns Out Royal Wedding-Worthy Collection when the McQueen Fall/Winter 2011 was unveiled.

    Sarah is rumoured to be designing Kate Middleton’s wedding dress.

    {Images McQueen Fall/Winter 2011 via MFD}

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    Sunday 4 July 2010

    The Art of Hieronymus Bosch


    Hieronymus Bosch (1450-1516) was born to a family of artists Hertogenbosch, from which his name was derived and where he worked all of his life. Although some of his paintings are fairly traditional, he also created pictures that rank among the most powerful imaginative fantasy scenes in the history of art.

    c. 1480-90. oil on panel. Prado, Madrid.”]His work was popular and influential during the 16th century, but then long forgotten. Since his rediscovery in the early 20th century he has continued to fascinate and perplex viewers.

    His work is known for its use of fantastic imagery to illustrate moral and religious concepts and narratives. The paintings depict a weird world full of grotesque and horrifying creatures, giving vivid form to the fear of Hell that haunted the medieval minds of that time.

    c. 1500. oil on panel. Prado, Madrid.”]His work once rediscovered influenced the famous artists of the surrealist movement, especially the work of Salvador Dali.

    Among Bosch’s most famous works is the triptych The Garden of Earthly Delights.

    The wooden triptych was painted with oil and consisted of a square middle panel flanked by two rectangular panels that can close over the center as shutters. When folded the outer panels display a painting of the earth during the Creation.  It is currently located in the Museo del Prado, Madrid.

    Bosch, Hieronymus. The Garden of Earthly Delights. c. 1500. oil on panel. Prado, Madrid.

    This painting was probably made for the private enjoyment of a noble family.

    It is named for the luscious garden in the central panel,

    which is filled with cavorting nudes and giant birds and fruit.

    God is absent from the central panel. This panel shows humanity acting with free will and engaging in various sexual activities. The impression of a life lived without consequence. In reference to astrological alignments at the time this was painted, a lot of the instruments of torture are also musical instruments.


    The triptych depicts the history of the world and the progression of sin.

    Outer wings (shutters), depicting the third day of creation.

    Beginning on the outside shutters with the creation of the world, the story progresses from Adam and Eve and original sin on the left panel to the torments of hell, a dark, icy, yet fiery nightmarish vision, on the right.

    On the left panel the painting depicts paradise with Adam and Eve and many wondrous animals,


    the earthly delights with numerous nude figures and tremendous fruit and birds

    illustrates a world deeply engaged in sinful pleasures on the middle panel,

    and hell with depictions of fantastic punishments of the various types of sinners on the right panel.


    When the exterior panels are closed the viewer can see, painted in grisaille, God creating the Earth.

    This work inspired Alexander McQueen’s finale collection.

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