Illusion of Kate Moss

Last updated

Excerpt of the illusion of Kate Moss from the runway show of The Widows of Culloden Illusion of Kate Moss from Widows of Culloden.gif
Excerpt of the illusion of Kate Moss from the runway show of The Widows of Culloden

The illusion of Kate Moss is an art piece first shown at the conclusion of the Alexander McQueen runway show The Widows of Culloden (Autumn/Winter 2006). It consists of a short film of English model Kate Moss dancing slowly while wearing a long, billowing gown of white chiffon, projected life-size within a glass pyramid in the centre of the show's catwalk. Although sometimes referred to as a hologram, the illusion was made using a 19th-century theatre technique called Pepper's ghost.

Contents

McQueen conceived the illusion as a gesture of support for Moss; she was a close friend of his and was embroiled in a drug-related scandal at the time of the Widows show. It is regarded by many critics as the highlight of the Widows runway show, and it has been the subject of a great deal of academic analysis, particularly as a wedding dress and as a memento mori . The illusion appeared in both versions of Alexander McQueen: Savage Beauty , a retrospective exhibition of McQueen's designs.

Background

Kate Moss, 2005 KateMoss.jpg
Kate Moss, 2005

British designer Alexander McQueen was known in the fashion industry for dramatic, theatrical fashion shows featuring imaginative, sometimes controversial designs. [1] He was a close friend of English model Kate Moss, who had walked in several of his previous shows, including La Poupée (Spring/Summer 1997) and Voss (Spring/Summer 2001). [2] [3] [4] Moss retired from runway modelling in 2004 to focus on advertising contracts and other ventures. [5] [6] In 2005, she became caught up in controversy after images of her allegedly using drugs were leaked to the media, and several companies cancelled lucrative contracts with her. [7] [8]

McQueen actively supported Moss throughout the controversy. He argued that in his opinion, many journalists also regularly used drugs, making their criticism hypocritical. [9] [10] He wore a T-shirt with the words "We love you Kate!" when he appeared at the end of the runway show for Neptune (Spring/Summer 2006). [11] [12] As a further gesture of support, he developed the idea of projecting her into the closing act of upcoming show, The Widows of Culloden (Autumn/Winter 2006), seeking "to show that she was more ethereal, bigger than the situation she was in". [13] [14] [2]

Illusion

Stage setup for Pepper's ghost. A brightly lit figure out of the audience's sight below the stage is reflected in a pane of glass placed between the performer and the audience. To the audience, it appears as if the ghost is on stage. Peppers Ghost.jpg
Stage setup for Pepper's ghost. A brightly lit figure out of the audience's sight below the stage is reflected in a pane of glass placed between the performer and the audience. To the audience, it appears as if the ghost is on stage.

The illusion played as the finale of the runway show for The Widows of Culloden on 3 March 2006 at the Palais Omnisports de Paris-Bercy. [15] [16] The stage was formed by a square of rough wood with a large glass pyramid in its centre, leaving a catwalk around the outside for the models to walk. [17] [18] After the final model exited the runway, the lights were dimmed and the illusion was projected within the central pyramid. [15] The illusion, sometimes inaccurately described as a hologram, used a 19th-century theatre technique called Pepper's ghost to display a life-sized projection of Kate Moss wearing a billowing chiffon dress. [14] [15] In the Pepper's ghost technique, a brightly lit figure out of sight of the audience is partially reflected on an angled pane of glass, which makes the semi-transparent figure appear to be on the stage. [19]

The illusion was executed as a collaboration between British film director Baillie Walsh, production designer Joseph Bennett, post-production company Glassworks, and production duo Gainsbury & Whiting. [20] [21] [22] Glassworks planned the illusion by creating a computer-generated render of the entire show space, including the seating and the runway. This enabled them to visualise the illusion from multiple viewpoints to confirm that it would look correct no matter where it was viewed from. [23] The performance for Widows was inspired in part by serpentine dance, a type of stage performance from the 1890s that utilised billowing fabric and dramatic lighting, created by dancer Loie Fuller. [24] [25]

Filming the effect was difficult, went over budget [9] and took two hours. Moss was suspended in a harness and wind machines were used to create the movement of her dress. [9] The flowing material made it difficult for the production designers to conceal the edges of the illusion. Because the pyramid was visible to the audience from all angles, it was more challenging to execute than an illusion using only a single field of view. [23] [26] It was the first fashion show to employ this kind of effect; [27] media theorist Jenna Ng speculated that it may have been the first such large-scale 3D projection of a performance. [26]

Reception and legacy

Portrait of Loie Fuller performing a serpentine dance, by Frederick Glasier, 1902 Loie Fuller.jpg
Portrait of Loie Fuller performing a serpentine dance, by Frederick Glasier, 1902

The illusion of Kate Moss is regarded by many critics as the highlight of the Widows runway show. [28] [29] Writing for Vogue, Sarah Mower said that "only Alexander McQueen could provide the astonishing feat of techno-magic that ended his show". [21] Robert McCaffrey, writing in The Fashion Studies Journal , called it "one of McQueen's most enduring and iconic finales". [17] American fashion editor Robin Givhan wrote that "McQueen created a fantasy that made his audience believe in the wizardry of fashion and its ability to move the spirit." [30] Jess Cartner-Morley of The Guardian called it a "suitably haunting finale". [31] Lisa Armstrong at The Times was more critical, calling it "unspeakably cheesy". [32] Kerry Youmans, a publicist for McQueen, recalled seeing audience members crying upon viewing it. [10] [33] Writing after McQueen's death in 2010, Lorraine Candy, editor-in-chief of Elle, said that "The hologram of Moss ... was all we talked about for months afterwards." [34] In 2014, Jessica Andrews of Vanity Fair named it one of the most dramatic runway stunts in history. [35]

The Victoria and Albert Museum (the V&A) in London owns a variant of the Kate Moss dress created by McQueen's assistant Sarah Burton for the 2006 wedding of another McQueen employee. [36] Moss wore the original again on the cover of the May 2011 issue of Harper's Bazaar UK . [37] In 2015, the Spanish 15-M movement staged a massive protest via hologram projection, taking specific inspiration from the Kate Moss illusion. [38] [39] [40]

The Kate Moss illusion appeared in Alexander McQueen: Savage Beauty , a retrospective exhibition of McQueen's designs shown at the Metropolitan Museum of Art in 2011 (the Met) and the V&A in 2015. [41] [42] [43] In the original presentation at the Met, the Moss illusion was recreated in miniature, but in the V&A re-staging, it was presented in full size in its own room. [lower-alpha 1] [24] [45] According to Sam Gainsbury, who worked on production for the illusion, McQueen had "always wanted to show [the illusion] independently as a work of art", so the team ensured that it was staged that way for the V&A's version of the exhibit. [46]

Analysis

Gothic tropes

The Ghost of Banquo (1855), Theodore Chasseriau (1819-1856) Banquo.jpg
The Ghost of Banquo (1855), Théodore Chassériau (1819–1856)

Critics have described TheWidows of Culloden as an exploration of Gothic literary tropes – particularly melancholy and haunting – via fashion, and the illusion of Kate Moss plays a significant role in this analysis. [17] [47] According to McQueen, the collection took inspiration from Shakespeare's Scottish play Macbeth . [48] Cartner-Morley argued that Moss effectively played the role of Banquo, a character who haunts Macbeth as a ghost throughout the play. [31] Literature professor Catherine Spooner connected the illusion to the visual effects used to portray spirits in the séances of the 19th century, and literary scholar Bill Sherman compared the effect on the audience to the "reverie" inspired by ghost stories of the era. [49] [50] Researcher Kate Bethune wrote that the collection's sense of melancholy was "consolidated in its memorable finale". [15]

McCaffrey presented a similar analysis, writing that the illusion of Kate Moss was an example of highly staged Gothic melancholy, playing on the "tensions between beauty and heartache". [17] He contrasted the illusion with the "spine" corset featured in Untitled (Spring/Summer 1998), viewing both as memento mori – artistic reminders of the inevitability of death. He saw the corset as an example of overt material horror, whereas the illusion functioned as an aesthetic horror that depended on the audience's emotional involvement for effect. [17]

McCaffrey called Moss's appearance in the show a kind of resurrection following the damage done to her career by the drug allegations, which may have been a deliberate allusion: after McQueen's death, Moss recalled that when he suggested the concept to her, he said he wanted her to be "rising like a phoenix from a fire". [10] [17] Film theorist Su-Anne Yeo argued that the illusion was successful in helping to rehabilitate Moss's image. She wrote that the presentation of the illusion at the V&A particularly "helped to transform Moss from an object of tabloid fodder to one of legitimate critical concern". [14] In a 2014 interview with British photographer Nick Knight, Moss confirmed that she had decided not to attend the show in person, even in disguise; she assumed it would be found out eventually and would "take away from all the magic ... the whole thing of me being a ghost". [51]

Sarah Heaton, whose work focuses on the intersection between fashion and literature, described the illusion as evoking the Gothic trope of the barefoot "mad woman"; normally this figure would be confined to an attic or asylum, but McQueen subverts the expectation by displaying her to the public, making her ephemeral and uncontained. [52] Fashion theorists Paul Jobling, Philippa Nesbitt, and Angelene Wong concur, arguing that the presentation demonstrated that Moss's body, as a symbol of female power, was "numinous, untouchable, and evading capture". [53]

Moss's chiffon gown has been critiqued as an unconventional wedding dress. [54] Cultural theorist Monika Seidl was critical of the illusion, arguing that it presented Moss as a contained female " Wiedergänger " or vengeful spirit. [55] She did however find the dress persuasive in the way it "destabilise[s] the notion of a bride". [55] Literary theorist Monica Germanà also took the dress to be a wedding gown, and found it an example of "the morbid coalescence of love and death", a recurring theme for McQueen. [56]

Technical analysis

Other authors have analysed the illusion of Kate Moss as a form of technologically altered reality, sometimes with supernatural associations. Anthropologist Brian Moeran used the illusion as an example of the runway show as a modern magical ritual, writing that the show's "magic is intimately entwined with technological sophistication". [57] American author Genevieve Valentine described it as a clear science fiction element. [58] Fashion historian Ingrid Loschek wrote that "the catwalk was transformed into a form of virtual reality" through the projection, which energised the audience. [29] Fashion writer Nathalie Khan contrasted the illusion with a straightforward film projection, saying that unlike a film, the illusion made Moss "no longer a mortal subject, but perception made invisible". [27] Jenna Ng described the projection of Moss, a living person, as a kind of rearrangement of physical distance: "the holographic subject appears to be virtually here amongst the present audience even as they are actually elsewhere at the time". [26] She called it an example of the "post-screen", in which there is no barrier between the audience's space and the image. [26]

Yeo was critical of the V&A's emphasis on the technological aspect of the illusion, arguing that it incorrectly positioned the effect as modern rather than historical. She argued that it would have been more appropriate to emphasise the connection to older forms of performance like the serpentine dance and phantasmagoria, a theatrical form that uses magic lanterns. [59] Performance theorist Johannes Birringer was critical of the entire Savage Beauty exhibit, but particularly so of the apparent reverence given to the illusion by the audience: "There was a hushed silence in that holographic room which I found pathetic." [44]

Notes

  1. In a review of the exhibition, media theorist Johannes Birringer refers to the hologram as "scaled down, in a small dark room", but other sources state that it was full-size compared to the miniature version presented at the Metropolitan Museum. [44]

Related Research Articles

<span class="mw-page-title-main">Kate Moss</span> English model and businesswoman (born 1974)

Katherine Ann Moss is an English model. Arriving towards the end of the "supermodel era", Moss rose to fame in the early 1990s as part of the heroin chic fashion trend. Her collaborations with Calvin Klein brought her to fashion icon status. She is known for her waifish figure, and role in size zero fashion. Moss has had her own clothing range, has been involved in musical projects, and is also a contributing fashion editor for British Vogue. In 2012, she came second on the Forbes top-earning models list, with estimated earnings of $9.2 million in one year. The accolades she has received for modelling include the 2013 British Fashion Awards acknowledging her contribution to fashion over 25 years, while Time named her one of the world's 100 most influential people in 2007.

<span class="mw-page-title-main">Alexander McQueen</span> British fashion designer (1969–2010)

Lee Alexander McQueen was a British fashion designer and couturier. He founded his own Alexander McQueen label in 1992, and was chief designer at Givenchy from 1996 to 2001. His achievements in fashion earned him four British Designer of the Year awards, as well as the Council of Fashion Designers of America International Designer of the Year award in 2003. McQueen died by suicide in 2010 at the age of 40, at his home in Mayfair, London, shortly after the death of his mother.

<span class="mw-page-title-main">Pepper's ghost</span> Illusion technique

Pepper's ghost is an illusion technique, used in the theatre, cinema, amusement parks, museums, television, and concerts, in which an image of an object off-stage is projected so that it appears to be in front of the audience.

Alexander McQueen is a British luxury fashion house founded by the designer Alexander McQueen in 1992. After his death, Sarah Burton was its creative director, from 2010 to 2023. Its current creative director is Seán McGirr. The house specializes in haute couture, ready-to-wear, premium leather accessories, and footwear.

<i>Alexander McQueen: Savage Beauty</i> Exhibition at the Metropolitan Museum of Art

Alexander McQueen: Savage Beauty was an art exhibition held in 2011 at the Metropolitan Museum of Art featuring clothing created by British fashion designer Alexander McQueen, as well as accessories created for his runway shows. The exhibit was extremely popular in New York City and resulted in what was then record attendance for the museum. The curators were Andrew Bolton and Harold Koda.

<span class="mw-page-title-main">Armadillo shoe</span> 2010 platform shoe by Alexander McQueen

The armadillo shoe is a high fashion platform shoe created by British fashion designer Alexander McQueen for his final collection, Plato's Atlantis. Only 24 pairs exist: 21 were made during the initial production in 2009, and three were made in 2015 for a charity auction. The shoes are named for their unusual convex curved shape, said to resemble an armadillo. Each pair is approximately 12 inches (30 cm) from top to sole, with a 9-inch (23 cm) stiletto heel; this extreme height caused some models to refuse to walk in the Plato's Atlantis show. American singer Lady Gaga famously wore the shoes in several public appearances, including the music video for her 2009 single "Bad Romance".

<i>The Widows of Culloden</i> Fashion collection by Alexander McQueen

The Widows of Culloden is the twenty-eighth collection by British fashion designer Alexander McQueen, made for the Autumn/Winter 2006 season of his eponymous fashion house. It was inspired by his Scottish ancestry and is regarded as one of his most autobiographical collections. It is named for the widows of the Battle of Culloden (1746), often seen as a major conflict between Scotland and England. Widows makes extensive use of the McQueen family tartan and traditional gamekeeper's tweeds, as well as other elements taken from Highland dress. Historical elements reflected the fashion of the late Victorian era and the 1950s.

<i>The Dance of the Twisted Bull</i> 2002 fashion collection by Alexander McQueen

The Dance of the Twisted Bull is the nineteenth collection by British designer Alexander McQueen for his eponymous fashion house. Twisted Bull was inspired by Spanish culture and art, especially the traditional clothing worn for flamenco dancing and bullfighting. In McQueen's typical fashion, the collection included sharp tailoring and historicist elements and emphasised femininity and sexuality.

<i>The Birds</i> (Alexander McQueen collection) Fashion collection

The Birds is the fifth collection by British designer Alexander McQueen for his eponymous fashion house. The Birds was inspired by ornithology, the study of birds, and the 1963 Alfred Hitchcock film The Birds, for which it was named. Typically for McQueen in the early stages of his career, the collection centred around sharply tailored garments and emphasised female sexuality. McQueen had no financial backing, so the collection was created on a minimal budget.

<i>Neptune</i> (Alexander McQueen collection) Fashion collection by Alexander McQueen

Neptune is the twenty-seventh collection by British designer Alexander McQueen for his eponymous fashion house. It took inspiration from classical Greek clothing, 1980s fashion, and the work of artists influential in that decade. The runway show was staged during Paris Fashion Week on 7 October 2005 at the industrial warehouse of the Imprimerie Nationale. Two main phases were presented, with 56 looks total: the first phase comprised monochrome black clothing, while the second featured a white, green, and gold palette. The collection's clothing and runway show both lacked McQueen's signature theatricality, and critical reception at launch and in retrospect was negative. Items from Neptune appeared in the 2022 exhibition Lee Alexander McQueen: Mind, Mythos, Muse.

<i>Irere</i> (Alexander McQueen collection) 2003 fashion collection by Alexander McQueen

Irere was the twenty-first collection by British fashion designer Alexander McQueen for his eponymous fashion house. Irere was inspired by imagery from the Age of Discovery and from the people and animals of the Amazon rainforest. Its title is claimed to mean 'transformation' in an unspecified Indigenous Amazonian language. The collection comprised three distinct concepts presented as a narrative sequence: shipwrecked pirates, menacing conquistadors, and tropical birds. McQueen described the collection as an effort to present a more mature point of view and surprise viewers with bold colours.

<span class="mw-page-title-main">Oyster dress</span> 2003 dress by Alexander McQueen

The oyster dress is a high fashion gown created by British fashion designer Alexander McQueen for his Spring/Summer 2003 collection Irere. McQueen's design is a one-shouldered dress in bias-cut beige silk chiffon with a boned upper body and a full-length skirt consisting of hundreds of individual circles of organza sewn in dense layers to the base fabric, resembling the outside of an oyster shell. According to McQueen, the gown took a month's work for three people, who cut and assembled all the pieces individually. In addition to the original beige dress, a version with a red bodice and the ruffled skirt in rainbow colours was also created. The beige and red versions appeared in the Irere runway show, and were photographed for magazines to promote the collection.

<i>Eye</i> (Alexander McQueen collection) 2000 British fashion collection

Eye was the fifteenth collection by British fashion designer Alexander McQueen for his eponymous fashion house. It was inspired by the culture of the Middle East, particularly Islamic clothing, as well as the oppression of women in Islamic culture and their resistance to it. The collection crossed traditional Middle Eastern garments with elements drawn from Western fashion such as sportswear and fetishwear. Jeweller and frequent McQueen collaborator Shaun Leane provided the collection's best-known design: a yashmak made from chainmail.

No. 13 Finale is a performance artwork by fashion designer Alexander McQueen, presented at the end of the Spring/Summer 1999 show for McQueen's eponymous fashion house. It consists of model Shalom Harlow wearing a white dress, standing on a rotating platform on the show's catwalk and being spray-painted by robots.

<i>The Hunger</i> (Alexander McQueen collection) 1996 fashion collection by Alexander McQueen

The Hunger is the seventh collection by British designer Alexander McQueen for his eponymous fashion house. The collection was primarily inspired by The Hunger, a 1983 erotic horror film about vampires. McQueen had limited financial backing, so the collection was created on a minimal budget. Typically for McQueen in the early stages of his career, the collection centred around sharply tailored garments and emphasised female sexuality. It was his first collection to include menswear.

<i>The Overlook</i> (Alexander McQueen collection) 1999 British fashion collection

The Overlook was the fourteenth collection by British fashion designer Alexander McQueen for his eponymous fashion house. It was inspired by the Stanley Kubrick horror film The Shining (1980) and named for the fictional Overlook Hotel where much of the film takes place. The collection focused on winter clothing in light and neutral colours, including chunky knitwear, fur and shearling coats, and parkas inspired by Inuit clothing. Showpiece items included a bustier made from rock crystal and a corset made from coils of aluminium, the latter provided by jeweller and frequent McQueen collaborator Shaun Leane.

<i>Pantheon ad Lucem</i> 2004 British fashion collection

Pantheon ad Lucem is the twenty-fourth collection by British designer Alexander McQueen for his eponymous fashion house. Inspired by ideas of rebirth, ancient Greek garments and science fiction films including 2001: A Space Odyssey (1968) and Star Wars (1977), the collection focused on sleek draped, wrapped, or tied jersey designs in light and neutral colours, with some evening wear in darker colours. Contrasting the slimline items were heavier garments including tweed suits and fur coats. McQueen expressed his fascination with altering the silhouette, emphasising the hips to a degree that was uncommon for him.

<i>The Girl Who Lived in the Tree</i> Fashion collection by Alexander McQueen

The Girl Who Lived in the Tree is the thirty-second collection by British fashion designer Alexander McQueen, made for the Autumn/Winter 2008 season of his eponymous fashion house. The primary inspirations were British culture and national symbols, particularly the British monarchy, as well as the clothing of India during the British Raj. The collection was presented as a fairy tale about a feral girl who lived in a tree before falling in love with a prince and descending to earth to become a princess, and the runway show was divided into two phases to represent this narrative. In the first phase, the ensembles were all in black and white, with most looks having a slim, tailored silhouette. The clothing from the second half was richly coloured, with luxurious materials and embellishments, representing the girl's transformation into a princess.

<i>Joan</i> (Alexander McQueen collection) 1998 British fashion collection

Joan was the twelfth collection by British fashion designer Alexander McQueen for his eponymous fashion house. Continuing McQueen's dual fascination with religion and violence, it was inspired by imagery of persecution, most significantly the 1431 martyrdom of French Catholic saint Joan of Arc, who was burned at the stake. The collection's palette was mainly red, black, and silver, colors which evoked notions of warfare, death, blood, and flames. Many items referenced ecclesiastical garments and medieval armour, including several items that mimicked chainmail and one look that had actual silver-plated armour pieces.

References

  1. Vaidyanathan, Rajini (12 February 2010). "Six ways Alexander McQueen changed fashion". BBC Magazine . Archived from the original on 22 February 2010. Retrieved 6 May 2022.
  2. 1 2 Knox 2010, p. 12.
  3. Hyl, Véronique (16 April 2015). "Watch McQueen's '90s Shows in Their Entirety". The Cut . Archived from the original on 26 November 2022. Retrieved 26 November 2022.
  4. Maroun, Daniela (18 March 2019). "Fashion: Memories of McQueen". The Journal Magazine. Archived from the original on 26 November 2022. Retrieved 26 November 2022.
  5. Vernon, Polly (14 May 2006). "The fall and rise of Kate Moss". The Observer . ISSN   0029-7712. Archived from the original on 22 June 2021. Retrieved 3 March 2023.
  6. Cartner-Morley, Jess. "Kate Moss smokes on the catwalk and steals the show at Louis Vuitton". The Guardian . ISSN   0261-3077. Archived from the original on 4 February 2023. Retrieved 3 March 2023.
  7. Britt, Chantal (20 September 2005). "Kate Moss Ads Scrapped by H&M After Cocaine Pictures". Bloomberg News . Archived from the original on 4 March 2010. Retrieved 29 January 2007.
  8. "Moss doubles her money after 'Cocaine Kate' scandal". London Evening Standard . London. 14 June 2007. Archived from the original on 17 July 2007. Retrieved 23 August 2007.
  9. 1 2 3 Socha, Miles (3 April 2006). "The Real McQueen". Women's Wear Daily . Archived from the original on 20 October 2022. Retrieved 24 October 2022.
  10. 1 2 3 Wilson 2015, pp. 299–300.
  11. Morton, Camilla (7 October 2005). "Alexander McQueen Ready-To-Wear – Catwalk report – Paris Spring/Summer 2006". Vogue. UK. Archived from the original on 10 October 2009. Retrieved 28 May 2009.
  12. Wilson 2015, p. 351.
  13. Watt 2012, p. 228.
  14. 1 2 3 Yeo 2020, p. 149.
  15. 1 2 3 4 Bethune, Kate (2015). "Encyclopedia of Collections: The Widows of Culloden". The Museum of Savage Beauty. Victoria and Albert Museum. Archived from the original on 20 September 2022. Retrieved 7 September 2022.
  16. Fox 2012, p. 116.
  17. 1 2 3 4 5 6 McCaffrey 2020.
  18. Young & Martin 2017, pp. 143–144.
  19. Beech 2011, p. 59.
  20. Yeo 2020, p. 137.
  21. 1 2 Mower, Sarah (2 March 2006). "Alexander McQueen Fall 2006 ready-to-wear collection". Vogue . Archived from the original on 7 September 2022. Retrieved 9 September 2022.
  22. Woo, Kin (11 March 2015). "Gainsbury & Whiting on Alexander McQueen". AnOther . Archived from the original on 14 January 2023. Retrieved 19 November 2022.
  23. 1 2 Williams, Eliza (13 March 2015). "How we made Alexander McQueen's Kate Moss Hologram". Creative Review . Archived from the original on 17 March 2015. Retrieved 23 September 2022.
  24. 1 2 Yeo 2020, p. 139.
  25. Albright 2007, p. 2.
  26. 1 2 3 4 Ng 2021, pp. 174–175.
  27. 1 2 Khan 2013, p. 267.
  28. Gleason 2012, p. 147.
  29. 1 2 Loschek 2009, p. 81.
  30. Givhan, Robin (7 March 2006). "Beware Red Ink On the Runway". The Washington Post . Archived from the original on 27 August 2017. Retrieved 7 December 2022.
  31. 1 2 Cartner-Morley, Jess (4 March 2006). "McQueen's modern Macbeth". The Guardian . Archived from the original on 26 October 2022. Retrieved 26 October 2022.
  32. Armstrong, Lisa (4 March 2006). "Is it big or skinny? The answer is both; Paris Fashion Week". The Times . p. 29. Archived from the original on 14 January 2023. Retrieved 7 December 2022.
  33. Sischy, Ingrid (10 March 2010). "A Man of Darkness and Dreams". Vanity Fair . Archived from the original on 1 October 2022. Retrieved 7 December 2022.
  34. Gleason 2012, p. 152.
  35. Andrews, Jessica C. (23 September 2014). "The Most Dramatic Fashion-Show Stunts of All Time". Vanity Fair . Archived from the original on 7 July 2022. Retrieved 26 October 2022.
  36. "Widows of Culloden – Alexander McQueen". Victoria and Albert Museum . Archived from the original on 26 October 2022. Retrieved 26 October 2022.
  37. Cowles, Charlotte (30 March 2011). "Kate Moss Wears Two Alexander McQueen Dresses for Harper's Bazaar U.K.'s 'Fashion Royalty' Issue". The Cut. Archived from the original on 10 November 2022. Retrieved 10 November 2022.
  38. Ng 2021, pp. 181–182.
  39. Sheean 2018, p. 469.
  40. Córdoba, Carlos (14 April 2015). "Activists mount hologram protest against Spain's 'gag' law". El País (English ed.). Archived from the original on 3 November 2022. Retrieved 3 November 2022.
  41. "Widows of Culloden". Metropolitan Museum of Art . 2011. Archived from the original on 28 September 2022. Retrieved 7 September 2022.
  42. Alexander, Hilary (2 May 2011). "Alexander McQueen's 'Savage Beauty' honoured in style". The Telegraph . Archived from the original on 1 April 2017. Retrieved 6 August 2011.
  43. Tegan 2021, p. 95.
  44. 1 2 Birringer 2016, p. 27.
  45. Hyland, Véronique (9 October 2014). "Alexander McQueen's Kate Moss Hologram Is Being Revived". The Cut . Archived from the original on 19 November 2022. Retrieved 19 November 2022.
  46. Woo, Kin (11 March 2015). "Gainsbury & Whiting on Alexander McQueen". AnOther . Archived from the original on 14 January 2023. Retrieved 19 November 2022.
  47. Spooner, Catherine (11 March 2015a). "The gothic vision at the heart of Alexander McQueen's savage beauty". The Conversation. Archived from the original on 22 September 2022. Retrieved 28 September 2022.
  48. Foley, Bridget (16 May 2006). "Wild Flowers". Women's Wear Daily . Archived from the original on 4 March 2023. Retrieved 26 October 2022.
  49. Spooner 2015, p. 143.
  50. Sherman 2015, p. 243.
  51. Subjective: Kate Moss interviewed by Nick Knight about Alexander McQueen A/W 2006. SHOWstudio. 24 September 2014. Event occurs at 5:10–5:45. Archived from the original on 22 October 2022. Retrieved 19 November 2022.
  52. Heaton 2017, pp. 95–96.
  53. Jobling, Nesbitt & Wong 2022, p. 27.
  54. Heaton 2017, pp. 84, 95–96.
  55. 1 2 Seidl 2009, p. 221.
  56. Germanà 2020, pp. 167–168.
  57. Moeran 2016, pp. 128–129.
  58. Valentine 2019, pp. 218–219.
  59. Yeo 2020, p. 150.

Bibliography

Books

Journals