Alexander McQueen: Savage Beauty (Fashion Studies)

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Alexander McQueen: Savage Beauty (Fashion Studies)

Alexander McQueen: Savage Beauty (Fashion Studies)

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£17.5 FREE Shipping

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The collection was a meditation on the dynamics of power, in particular the dialectical relationship between predator and prey. McQueen’s reflections on primitivism were frequently represented in paradoxical combinations, contrasting modern and primitive, civilized and uncivilized. Typically, McQueen’s narrative glorified the state of nature and tipped the moral balance in favour of the ‘natural man’ or ‘nature’s gentleman’, unfettered by the artificial constructs of civilization.

Alexander McQueen: Savage Beauty opened at The Met in 2011. This year we celebrate the tenth anniversary of the exhibition and its publication, which has sold over 340,000 copies and counting. Written by Andrew Bolton—with an introduction by fashion journalist Susannah Frankel and an interview with Alexander McQueen’s creative director, Sarah Burton, conducted by Tim Blanks—this stunning book remains an essential publication on the groundbreaking artistry of this provocative designer. Arguably the most influential, imaginative, and provocative designer of his generation, Alexander McQueen both challenged and expanded fashion conventions to express ideas about race, class, sexuality, religion, and the environment. Alexander McQueen: Savage Beauty examines the full breadth of the designer's career, from the start of his fledgling label to the triumphs of his own world-renowned London house. It features his most iconic and radical designs, revealing how McQueen adapted and combined the fundamentals of Savile Row tailoring, the specialized techniques of haute couture, and technological innovation to achieve his distinctive aesthetic. It also focuses on the highly sophisticated narrative structures underpinning his collections and extravagant runway presentations, with their echoes of avant-garde installation and performance art.It amazes me! Perhaps it reached a tipping point and became so iconic that everyone affected by McQueen’s work wanted to have it. London was the epicentre of McQueen’s world. The son of a taxi-driver, he grew up in the city’s East End and left school at 15 to become a tailor’s apprentice on Savile Row in Mayfair. In 1990 he joined the prestigious MA Fashion course at Central Saint Martins. Already a highly proficient and inventive tailor, here he learned how to be a fashion designer, drawing inspiration from London’s history, its world-class museums and emerging ‘Brit art’ scene. McQueen expressed this originality most fundamentally through his methods of cutting and construction. These were both innovatory and revolutionary. He was such an assured designer that his forms and silhouettes were established from his earliest collections, and remained relatively consistent throughout his career. With most books, we go through many rounds of cover designs, and it is often hard to get consensus on the right image. Early in the planning, the exhibition’s curator Andrew Bolton and I met with the representatives from the McQueen organization in the Museum’s staff café. 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. Suddenly we had a cover. It never happens like that. One of the things that made the Savage Beauty catalogue such a success is the evocative imagery by fashion photographer Sølve Sundsbø, and I think readers might be interested to know that there is a little more to the photographs than meets the eye. How did these images come to be?

Named one of the Top Ten Best Books of 2011 by Library Journal, named to Time's list of Best Gift Books for 2011, listed in the Best of Art Books section of The Wall Street Journal's Gift Guide, and named one of ForeWord's 2011 Book of the Year Awards Finalists.Throughout his career, Alexander McQueen frequently returned to the theme of primitivism, which drew upon the fantasy of the noble savage living in harmony with the natural world. Eshu (Autumn/Winter 2000) was inspired by one of the most well-known deities of Yoruba mythology. It’s a Jungle Out There (Autumn/Winter 1997–98) was based on the theme of the Thomson’s Gazelle. Savage Mind ‘You’ve got to know the rules to break them. That’s what I’m here for, to demolish the rules but to keep the tradition.’ The collection featured a number of exoticised garments, including a coat and a dress appliquéd with roundels in the shape of chrysanthemums. A fragile, blood-red glass and ostrich feather gown offered a meditation on life's transience, while a thermal image of the designer's face was woven into the fabric of a silk coat. This is a fine tribute to a fashion designer and conceptual artist who died far too young but whose contributions to contemporary fashion and art will live on. This book is likely to become a collector's item, so handsomely designed and present as it is. By Andrew Bolton, with contributions by Susannah Frankel and Tim Blanks; Photography by Sølve Sundsbø



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