Saturday 3 July 2010

    McQueen’s Angels and Demons


    With a pattern of angel wings undulating over her shoulder blades, the model walked through the gilded salon in one of Alexander McQueen’s final creations before he chose to leave this world.

    Sixteen of the late designer’s final creations were put on display in a gilded ballroom in the headquarters of Francois Pinault as a solemn and chilling soundtrack played in the background.

    The private show took place to the classical music Mr. McQueen had been listening to as he cut and fitted the 2010 autumn collection. Models walked slowly and solemnly to the haunting operatic music.

    Suzy Menkes, of the New York Times, called the show ‘a requiem for a great designer:

    His vision of Gothic glory, with a world bathed in religious symbolism, was translated not just with immense subtlety and beauty but also with the urgent futurism that was the essence of his spirit.

    Talking about how the collection was created Sarah Burton, McQueen’s right hand, said the designer had turned away from the world of the Internet, which he had so powerfully harnessed in his last show. She added:

    He wanted to get back to the handcraft he loved, and the things that are being lost in the making of fashion. He was looking at the art of the Dark Ages, but finding light and beauty in it. He was coming in every day, draping and cutting pieces on the stand.”

    Mr. McQueen created his last collection by folding and pleating material by hand on standing dress forms, often using a single bolt of fabric. The royal materials included silk duchesse, gold metal jacquards, brocades, fil coupe satin organzas and silk chiffons, matched with shoes of crocodile skin, the soles hand-carved in gilded wood.

    The Dark Ages were reinterpreted in the form of cape-coats and short drop-waist pleated dresses, with tapestry bodices in rich regal fabrics like red, ivory and gold.

    The collection included 16 outfits inspired by Byzantine art and Old Masters paintings. In the work of master carver Grinling Gibbons, McQueen found details which he translated into crocodile shoes with gilded wooden heels hand-carved into elaborate columns of twisted ivy festooned with acorns.

    There were chill moments, such as when the Paris sunlight caught the sculpted heel of an ankle boot revealing the carving of a broken skull. The skull had come to be something of a McQueen trademark, but here it appeared crushed.

    McQueen referred to the collection as “Angels and Demons” in tweets just weeks before his death. Inspired by Medieval art, the models had banded heads (sometimes with mohawk-like gold feathers) and severe nude faces reminiscent of Madonnas and Byzantine royals.

    The designs were heavily religious, and featured ornate embroidery, deep red and gold hues and dramatic capes.  Made of fabric that translated digital photographs of paintings of high-church angels and Bosch demons, the collection referenced history. The abstractions of Hieronymus Bosch paintings were not just printed on the sensuous and shapely outfits, where a taut bodice grew out of a multifolded hipline or emerged from soft fabrics flowing around it. Instead the images, with a focus in the British royal heritage of lions rampant or Grinling Gibbons’s wood carvings, were screened, manipulated and digitally woven.

    The underlying religious theme echoed again and again in sumptuous, gold, ecclesiastical embroideries; in silk jacquard woven with patterns of angels and angels’ wings; in the hand-painted gold feathers visible under the draped skirt of a one-shouldered, short gown; and in the stained glass, church- window jewellery which filled the necklines of sharply cut peplum-jackets and dresses, and adorned the wrists.

    The entire line was made up of divine, royal-looking dresses and coats in addition to one fierce, gold pantsuit.

    Using the digital scanning and laser printing techniques, McQueen employed Hieronymus Bosch’s “The Garden of Earthly Delights” on one top, Byzantine motifs on another, images of saints pulled from frescoes in a dress, and angels photographed from bas-reliefs in a gown.

    His spectacular dresses referenced art masterpieces such as Hieronymous Bosch's "The Garden of Earthly Delights."

    Also northern European saints, including St. George and St. Nicholas, were incorporated into some of his gowns.

    Sandals wreathed in gilded roses matched the salon’s ornate decoration, while the mirrors reflected the models’ golden feather Mohawks. The intense workmanship was of couture quality, which is the way Mr. McQueen had been moving his signature line.

    In this 16-piece collection Alexander — Lee — McQueen showed his sensitivity to history, his powers of research, his imagination, his technical skills and his love of women, often misinterpreted or misunderstood, but here evident in every fold and feather.

    So whimsical and delicate.

    The lighter, romantic side of the designer’s nature shone through, too, in a smoke-grey and silver silk jacquard “angel” gown with gold-feathered “wings” on the shoulder, a long, split skirt revealing a cloud of silk chiffon; and in a regal, full-sleeved gown in cream duchesse satin and silk chiffon, worked with gold thread. The model looked like a medieval queen.

    The closing look was breathtaking and felt like a glimpse of heaven.  As the final model appeared in the high-collared, long jacket handcrafted from gold feathers and worn over a white tulle skirt scattered with gold embroidery, an aide whispered: “There is no more.”

    “Each piece is unique, as was he,” concluded the moving show notes.

    Alexander McQueen's last collection, featured 16 looks, including a cape-dress embroidered with golden dragons and hand-carved, gilded shoes.

    In the words of Jess Cartner-Morley from the Guardian UK

    ‘All hail the last emperor. Long live McQueen!!!’

    The presentations, which would have been made in McQueen’s favourite venue, the opulent La Conciergerie, had he lived, were instead staged in the Hôtel de Clermont-Tonnerre. This 18th-century hotel particulièr is the family headquarters of PPR SA, the luxury French conglomerate which, through its ownership of the Gucci Group, has a 51 per cent stake in the Alexander McQueen label.

    Music ~ The sombre music, sung by the German coloratura soprano, Simone Kermes, included Dido’s Lament from Purcell’s Dido and Aeneas, intensifing the solemnity of the occasion.

    {Sources & photos: via, NY Times & Telegraph UK}

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    Friday 2 July 2010

    Alexander McQueen’s muse ~ Daphne Guinness


    Daphne Guinness is a fashion stylist, film producer and heiress of the Guinness brewing family. Known for her elegant, original fashion style with a penchant for couture, she is an Alexander McQueen devotee and muse.

    A charity catwalk show at New York Fashion Week, became a salute to the late British designer,

    Lee Alexander McQueen.

    The show, Fashion for Relief/Haiti,

    was organised by the British supermodel, Naomi Campbell,

    a global ambassador for the White Ribbon Alliance charity.

    Daphne Guinness walks the runway at Fashion For Relief Haiti 2010

    McQueen muse, the heiress, Daphne Guinness, her tear-stained face veiled in white tulle, wore a dazzling, silver-sequinned catsuit, specially made for her by McQueen.

    “This is my memory of Lee. He only finished it for me two weeks ago. It was a belated birthday gift and I will always treasure it. It’s probably the last piece he ever made in his life,” she said.

    ‘Fashion For Relief’ Haiti Runway Show was a celebrity-studded affair.  Daphne Guinness with six other models closed the show to pay homage and honor the late Alexander McQueen.  The finale featured several of the designer’s looks, with Naomi Campbell leading the models in the special, yet tearful, runway tribute.

    The spotlight fell on “The Magnificent Seven” – a group of seven spectacular designs from McQueen’s last-ever collection, “Plato’s Atlantis”, originally shown during the Paris prêt-à-porter season last October.

    The designs demonstrated the wilder shores of McQueen at his technological and creative best, inspired by Darwin’s theory of evolution, featuring brilliantly-coloured computer-prints of serpents and bizarre sea-creatures, and accessorized with “barnacle boots”, in python, encrusted with crystals and jewels.

    Daphne wearing the same style McQueen dress in two different colors at two different events.

    Style icon Daphne Guinness in Vanity Fair.

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    Sunday 27 June 2010

    Alexander McQueen ‘laughing with Isabella Blow in heaven’


    Alexander McQueen’s friends are taking comfort

    from the thought that the acclaimed fashion designer

    has been reunited with his mentor Isabella Blow.

    Ms. Blow, the eccentric British stylist who was known for wearing daring hats, is credited with discovering Mr McQueen.  The style guru was known for her love of eccentric headgear and red lipstick.

    McQueen’s graduate collection caught the attention of Issy, the late, legendary, fashion guru who purchased his entire graduation collection and helped him make industry connections.

    Ms Blow had said:

    ‘My relationship with McQueen began in 1994, when I went to a Saint Martins graduate show.

    I couldn’t get a seat, so I sat on the stairs and I was just watching, when I suddenly thought:

    I really like those clothes, they are amazing. It was his first collection.

    ‘It was the tailoring and the movement which initially drew me to them.

    I tried to get hold of him and I kept calling his mother, but he was on holiday.
    She kept saying: ‘He’s not here, he’s not here.’ She told him: ‘This crazy person is trying to get hold of you.’

    I eventually got to meet him and I decided to buy the entire collection for ₤5000: I bought one thing a month and paid him £100 a week. He’d bring an outfit in a bin liner, I’d look at it and then he’d come to the cashpoint with me.’

    Isabella Blow, who took her own life after a long bout with depression, a constant use of fake urine products in order to assist work, was the inspiration
    behind the collection that Alexander McQueen unveiled at the Omnisport Bercy in Paris, 2008.

    Blow’s suicide in 2007 “just left a big void in my life,” McQueen told W magazine.

    In Isabella’s memory, he dedicated his Spring Summer 2008 show to his late friend.

    The Issy tribute show, had angel wings as a backdrop and a poster-size invitation, illustrated by Richard Gray, that arrived in a giant cardboard cylinder. It depicted a triumphant Blow, in a McQueen dress and a Philip Treacy headdress, riding to the heavens in a chariot pulled by winged horses.

    Avian Influences

    Alexander McQueen Spring 2008.

    On entering the white-on-white space the mood had an affectionate nostalgia for Issy Blow,
    whose favourite Robert Paguet scent, Fracas had been sprayed liberally around the room,
    and pink boxes containing fragrance were on the seats:

    all denoted that this would be a fitting tribute ~ love was in the air.

    As her two most successful discoveries and close friends,

    Philip Treacy and McQueen collaborated on the show in tribute to Issy.

    Entitled La Dame Bleue it featured typically ambitious head pieces from Treacy

    - from his signature butterfly swarms to metal visors and incredible spiral sweeps of chain mail.

    Any one could have been chosen by her for any of her public appearances – or indeed, any of her trips to the office. For Issy, no day was a dress-down day and her nipple-revealing corsets, boxer short moments and eye-catching, eye-covering hats were legendary in Vogue House at any time from Monday morning to Friday night.

    To honor Isabella Blow, her collection of Phillip Treacy hats must be acknowledged. McQueen’s models wore headgear that ranged from simple feathered creations to a full fencer’s mask. A rainbow colored dress with its winged feather collar both paid homage to Blow and made allusion to a phoenix rising.

    The theme of birds—particularly symbolic of Blow—held the show together.
    From bird-of-paradise silhouettes to wing-like capes and feathered details,
    the show was an ode to delicate creatures of the sky.

    The gallery shows the bird-of-paradise inspirations in head adornments, colourful capes that resemble an extended set of wings, a stunning dress in what appears to resemble the feather patterns of an owl and a grey dress so pale, it evokes images of the soft plummage of a swan.

    A huge set of mechanical wings flashed red above the catwalk as we heard Pegasus

    snorting and taking off, and when the show began models took to the catwalk,

    emerging from the eagle sculpture.

    Models came out of the pulsating wing-shaped light sculpture wearing hats of all types: metallic structures, swarms of butterflies, pink patent leather fencing masks and feather headdresses were all represented.

    At the end of the show, models took their final runway turn to the tune of a romantic Neil Diamond song, and many of the guests wiped away tears.

    Hats off to Isabella: Style icon’s funeral brimmed with emotion

    Arriving a fashionable 15 minutes late for her funeral at Gloucester Cathedral,

    her woven willow coffin was draped with lilies and white roses.

    It had been preceded by a stream of gazelle-like models and six black horses that drew her glass hearse.

    Even at her funeral, Isabella Blow managed to have the most spectacular hat in the room.

    Though many wore extravagant creations in tribute, none could top the

    Philip Treacy black sailing ship bonnet adorning the coffin.

    On top of her coffin were white roses surmounted by the black “ship” hat,

    worn at various times by both Blow and the singer, Grace Jones.

    She wore a long red silk coat embroidered with gold and with a tassled hem, with matching gold platform shoes, specially made for her by the designer she discovered and championed, Alexander McQueen. On her head was her favourite “pheasant” hat by the milliner, Philip Treacy, another of the designers she launched into the global spotlight. ”I’m having space made in my coffin for a pheasant hat,” the Issy once said.

    “I love the idea of the feathers dying with me slowly.”

    The coffin was borne away in a Victorian glass hearse drawn by three matching pairs of bay horses.

    Their ostrich-plumed headdresses had been specially embellished by Treacy to be even more luxuriant.

    The service opened with the hymn O Pray For The Peace Of Jerusalem, composed by John Blow, a descendant of Blow’s husband. Blow was said to regularly attend the cathedral “always in different hats” with her husband Detmar, whom she married there in 1989. Detmar attended yesterday’s service in the same black suit that he wore at their marriage.

    The funeral was conducted with the style, extravagance and flamboyance that marked her life.

    Issy would have loved it!

    Isabella Blow’s  husband, Detmar Blow,

    recalls the deep bond that united the designer and his muse.

    I first met Alexander when Isabella invited him to live with us at 67 Elizabeth Street in Belgravia. We were on the top floor, [the milliner] Philip Treacy on the first, and Alexander was on the ground. Issie was working at British Vogue at the time and had come across Alexander at his graduate fashion show in 1992.

    There was an expectant atmosphere, and no seats were left,

    so she ended up sitting on the stairs watching the clothes go past.

    She returned home enraptured, his clothes were, she told me, unique -

    he could cut material like a god and they moved like birds.

    Issie was on the case.

    Alexander would later tell me that his beloved mother had told him:

    “There is this crazy woman who keeps ringing up about your clothes.”

    They met and Issie asked how much a jacket was. He said £300.

    She said: “That’s a lot for a student.”

    Like Issie, Alexander had a sharp wit. They were from very different backgrounds but had much in common. They both had a creative vision that was innovative and thoughtful, too. They also shared a darkness. Both had unresolved issues from their childhoods, and they remained burdened by these weights.

    Alexander moved to Hoxton Square the following year when it was still very scruffy and set up his studio. It was an instant success. He possessed the most extraordinary tailoring skills, but he also loved to shock, something that was apparent in his shows. Of course there was the frivolity of fashion, but he commented too on the darkness of life. His work had themes about rape, say, or death, or featured models with prosthetic limbs.

    He was so close to his wonderful mother, Joyce, who was a genealogist. She had researched the McQueen family line and had discovered that they were grave-diggers in Inverness. This appealed to both Alexander and Issie hugely.

    Alexander loved going to Hilles, my family’s house in Gloucestershire. He loved nature. “Detmar, it’s a jungle out there,” he would tell me, and would say how, even as a boy, he’d watch the birds hovering around the tower blocks in the East End. After his shows, he would come to Hilles for a break. We would do a lot of walking and talking. Issie organised two local falconers to come up to the house as she knew how much he loved birds.

    In 1996 he was appointed head designer at Givenchy. The job came out of the blue. It vindicated Issie’s courage in championing him over those four years – she was, I feel, often ridiculed and mocked as a fringe eccentric.

    Issie travelled to Paris with Alexander when he signed the three-year Givenchy contract. She returned home without a job from him. Alexander worked with [the stylist] Katy England, and that was that. Issie was so sad about this. She had an exciting vision for him at Givenchy – and a new Audrey Hepburn in her cousin, the model Honor Fraser.

    After this were the years of building his brand, with all this money coming through. The relationship between him and Issie had changed, of course. Yet Issie remained faithful when it came to her signature silhouette:

    a Philip Treacy hat, McQueen clothes, Manolo Blahnik shoes.

    At Issie’s funeral in 2007, he sat directly behind me, which I felt was symbolic.

    He was utterly devastated, distraught.

    Issie was buried in McQueen, in a red-and-gold brocade dress.

    McQueen, Philip and her sister Julia helped dress the body.

    They both took life very seriously, and I think their vision of the world has now been vindicated.

    Long live Alexander the Great and Queen Isabella.

    Source: Detmar Blow wrote this article for the Telegraph newspaper.

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    Sunday 27 June 2010

    Daphne Guinness mourns Alexander McQueen


    “He was the kindest, shiest, funniest person.

    And when the chips were down, he was there.

    He wasn’t a flake. You could count on him.

    I will miss him.”

    Daphne Guinness

    Heiress and haute couture aficionado, Daphne Guinness remembers her friend, Alexander McQueen, the late British designer and pays tribute to his genius.

    ‘Notwithstanding the fact that he was one of my best friends and he saved me from many things, Lee Alexander McQueen was a gigantic personality. He was a colossus, a titan. And he had the biggest heart.

    We met many years ago. As he told it, he saw me across Leicester Square, and I was wearing one of his coats. So he came up to me and said, “I’m Alexander.” We became so close. Me and Lee and Issie [Blow], we were a little gang.’

    Daphne Guinness arrives for the service at Saint Paul's Church in Knightsbridge in a billowing black cape from the designer's autumn 2002 collection

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    Sunday 27 June 2010



    The fashion world experienced one of its darkest days with the sudden loss of one of its great maestros, Lee Alexander McQueen. In his short but incandescent career, McQueen put his own stamp (typically a skull motif) on contemporary fashion, redefining notions of power and sexuality with his controversial personality and avant-garde sensibility. Dubbed “L’Enfant terrible” by the French press due to his close-cropped hair, Doc Martens and feisty attitude, this creative genius aimed to shock and awe.

    McQueen once said, “I like blowing people’s minds. It’s a buzz. Like a fix, for 20 minutes, if that…We need a bit of excitement in fashion, don’t we?”

    Rest assured, McQueen’s influence lasted far beyond 20 minutes as he became one of the most commercially successful and respected British designers of all time. In 2003, McQueen received a CBE from Queen Elizabeth II, won British Designer of the Year four times between 1996 and 2003, and was named International Designer of the Year at the 2003 Council of Fashion Designer Awards.

    Alexander McQueen attends the funeral if his good friend Isabella Blow...

    Dropping out of school at the age of 16, the youngest son of an East Ender cabbie apprenticed with conservative Savile Row tailors Anderson & Sheppard and Gieves & Hawkes, where he famously scribbled: “I am a c***” on the lining of a jacket for the Prince of Wales.

    His rise to fame was short and explosive, much like his career. In 1990, his MA graduate collection from Central Saint Martins was bought for £5,000 by the late fashion icon Isabella Blow, who became his close friend and mentor. She convinced McQueen to use his middle name – Alexander – instead of his first name Lee, and when Icelandic singer Björk wore a McQueen ensemble on her Homogenic album cover, McQueen skyrocketed to success.

    In 1996, McQueen replaced John Galliano at Givenchy, where he remained for five years. Upon completing his contract, McQueen sold 51% of his company to Gucci Group in 2000, resulting in rapid worldwide expansion with boutiques opening in London, Milan, New York, Los Angeles and Las Vegas. A perfume range and Puma collaboration followed and McQueen became a red carpet favourite with celebrities such as Lady Gaga and Rihanna.

    McQueen’s jaw-dropping runway shows were as dramatic and controversial as the designer himself. Who could forget McQueen’s 1998 show featuring a double amputee with curved wooden legs on the catwalk? McQueen’s spectacles kept the fashion press on the edge of their front row seats as he conjured a shipwreck for Spring 2003, human chess game for Spring 2005, and life-sized hologram of supermodel Kate Moss for Fall 2006.

    His ability to transform clothes into cultural tapestry was evident as his designs agitate preconceived notions of power, femininity, and romance. McQueen’s signature pieces included “bumster” trousers, skull scarves, 12-inch “armadillos” and show-stopping tartan numbers donned by Sarah Jessica Parker and Victoria Beckham.

    McQueen’s was often mistakenly accused of a misogynistic attitude towards women as his early shows featured the fairer sex in deathly makeup, severe silhouettes and styling. His 1992 graduation collection was inspired by Jack the Ripper and featured locks of human hair sewn into jacket linings, while his 1995 Highland Rape collection divided critics when he sent supposed rape victims down the catwalk.

    Love him or loathe him, there was no doubting McQueen’s originality or penchant for the macabre.

    “Perhaps by constantly flirting with death, death ends up attracting you,” said Karl Lagerfeld regarding McQueen’s recent demise.

    His end might have been dark, but McQueen was one of fashion’s brightest stars. As the fashion world mourns the loss of a true visionary, McQueen’s legacy will live on in the hearts of those he touched in a career that was nothing short of stellar.

    We Will Miss You So Much, Lee!

    Designer Alexander McQueen was laid to rest in style

    in a private funeral at Saint Paul’s Knightbridge in London.

    Simple bouquets of mauve and red roses stood on either side of his casket,

    & green ivy adorned the center aisle of the church.

    The ceremony was strictly for family only, although a few famous mourners were included. Kate Moss wore a black dress, black fur cape & five-inch heels. Other mourners included supermodel Naomi Campbell, designer Stella McCartney, artist Daphne Guinness in a black caped get-up, and artist/director Sam Taylor-Wood.

    Naomi Campbell, Kate Moss & Daphne Guinnness.

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    Sunday 27 June 2010

    McQueen ~ the Showman Designer


    Alexander McQueen liked blowing people’s minds. His fashion shows were a cinematic visual feast, an explosion of beauty and fashion, technology and art.  Remembering some memorable moments by a great artisan.

    Spring 1999 ~ One of McQueen’s most notorious shows was spring 1999, which finished with Shalom Harlow twirling in a plain, white dress as two robots fired primary-coloured paint at her, live in front of the audience.

    Spring 2000 One of McQueen’s most dramatic performances involved models flying through the air, over dagger-like spikes.

    2002 – The Bridegroom Stripped Bare ~ McQueen showed off his exquisite cutting and draping skills when he let the cameras in on ‘The Bridegroom Stripped Bare’, a presentation of the normally unseen process of the designer at work. Click on the heading to watch McQueen transform a bridegroom into a bride.

    Fall 2006 ~ One of the more memorable McQueen moments occurred in the fall 2006 show when Kate Moss appeared as a hologram, rounding off the runway collection.

    Spring 1997 ~ McQueen’s models made a splash by walking on water for his spring 1997 collection.

    Fall 2008 ~ Taking inspiration from a 600-year-old elm tree in his garden, McQueen dreamt up the story of a girl that lived inside it and who came out to meet her prince. The dream became a reality in this regal feast of fashion for fall 2008.

    Spring 2010 McQueen’s final work – entitled ‘Plato’s Atalantis’ – was a digital extravaganza. Digitally printed dresses were presented against a backdrop of Nick Knight’s snake video starring Raquel Zimmermann. The whole event was then streamed worldwide, premiering Lady Gaga’s new single ‘Bad Romance.’

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    Sunday 27 June 2010

    Ethereal Beauty ~ Divine McQueen


    An ethereal butterfly-strewn Gemma Ward crowned Mcqueen's show in 2006, wearing a white ruffle gown, with romantic swooshes of fabric.

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    Sunday 27 June 2010

    Golden McQueen


    Abbey Lee Kershaw in Alexander McQueen - Vogue Italia by Emma Summerton, June 2009

    Lily Donaldson in Alexander McQueen - iD by Solve Sundsbo, March 2009

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    Sunday 27 June 2010



    Isabella Blow discovered and inspired him, the fashion industry simultaneously mocked and adored him, and in February 2010 the world mourned him. Fashion designer, Alexander McQueen, was dead at 40.

    “For every 1,000 so-called designers who pin a piece of jersey around a mannequin and call it fashion,

    there’s only one McQueen, an explosively imaginative designer who openly courted controversy

    (he called one of his early collections, a mix of military jackets and torn-lace dresses, “Highland Rape”)

    but who also treated craftsmanship as a foundation and not an afterthought.

    He began his career as an apprentice on Savile Row,

    helping to construct custom-made suits for the likes of Prince Charles and Mikhail Gorbachev.

    In a world where fashion churns through chain stores like H&M and Forever 21 at a dizzying and alarming rate, McQueen’s death at age 40 is a sad reminder of the way certain values have been misplaced in our culture: Not just in fashion but in all creative fields, thought, precision, wit and a sense of history are rare and endangered qualities.”



    cat in pace

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    Sunday 27 June 2010

    Tiger McQueen


    In the Year of the Tiger, I love these two Alexander McQueen images.

    Daria Werbowy in Alexander McQueen - Vogue by David Sims, May 2009

    Natasha Poly in Alexander McQueen - Vogue by David Sims, March 2009

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