Alexander McQueen: Savage Beauty

This month saw the opening of the new Alexander McQueen exhibition, ‘Savage Beauty’ at the Metropolitan Gallery in Manhattan, New York. The exhibition is a collaborative effort between the house of Alexander McQueen and the Met Gallery which serves as a retrospect to one of the world’s most controversial and ground breaking designers.

Alexander McQueen : Savage Beauty

The exhibition houses approximately 100 ensembles and 70 accessories from the McQueen’s 19 year long career. The exhibition also features pieces of Givenchy Couture from when McQueen spent time there, which adds a nice touch to aiding the understanding of his extensive career.

Upon entering the Cantor Galleries, where the exhibition is held, you are welcomed by a blood red floor length gown, created from painted blood slides and ostrich feathers. Its extravagance and sheer distinct creativity opens the exhibition wonderfully and leads the way to what’s to come.

Alexander McQueen : Savage Beauty

Remaining dark and eerie throughout, the exhibition is split into different sections, all of which link back to the main theme of romanticism. “Romantic Gothic” examines McQueen’s links to history for his inspiration especially Victorian Gothic, whilst “Romanitc Nationalism” reflects on McQueen’s Scottish heritage. “Romantic Primitivism” looks into the ideal of the “noble savage”, whilst “The Romantic Mind” explores McQueen’s work with draping and dressmaking.

Select shows featured prominently throughout, including the notorious Highland Rape collection, VOSS, and his last collection that was showcased before his death ‘Plato’s Atlantis’ along with pieces from his Angels and Demons collection which was the last collection McQueen had worked on before his death.

Alexander McQueen : Savage Beauty

Around halfway through the exhibition is a room entitled ‘The Cabinet’. It’s this room that welcomes you to an array of accessories that formed parts of McQueen’s fashion shows. Pieces include a metal cast of a spinal column creating a “spine corset” out of metal and leather. An abundance of sculptural headwear from Phillip Tracey also features. The Cabinet also features video screens playing video highlights from McQueen’s renowned presentations.

Walking throughout there are nods to McQueens older presentations, including a miniature prism replaying the Kate Moss hologram from his A/W 2006 ‘Windows of Culloden’ show, along with a large glass tank, playing the controversial unveiling of a woman wearing a gas mask which featured during his VOSS S/S 2001 show.

It’s stunning to the see the wonderful artistry McQueen had during his career and exciting to appreciate his garments as pieces of modern art. Leaving the exhibition leaves you with a bittersweet feeling. There’s a happy nostalgia to seeing the amount Lee McQueen achieved in his career and reliving his finest moments, yet a sadness that a true talent has disappeared from our world.

We miss you so bad Lee.