Savage Beauty
at the V&A
For a long time, I didn’t particularly like the design aesthetic of Alexander McQueen. I tend to gravitate toward designers that promote a classic, feminine aesthetic (de la Renta, Valentino, Dior); I also favor designs that can actually be translated to the real world and are wearable. Edgy, conceptual pieces tend to not look good on my particular body type and frame. So, in all of that, I wasn’t able to appreciate this type of designer for a long time.
Then I had the genuine pleasure of viewing this exhibition.
Each room was spectacularly put together, except for one of the last (I’ll go into that later). The juxtaposition of his different collections in each room, married together by a certain theme or period in McQueen’s life, shed a new light on each piece. I particularly liked viewing his Highland Rape (1995) and The Girl in the Tree (2008) collections side-by-side in the long gold room. I have a deep love for history (and of course those feminine silhouettes), so this room spoke to me.
I thinking that seeing the intricate details of his pieces are what really changed my perception of his designs. Being able to look at each piece of clothing up close, one can’t help but be in a sense of awe at the masterful craftsmanship. This attention to detail should really come as no surprise, considering McQueen’s background in men’s tailoring on Saville Row (which I, frankly, had no clue about until viewing this exhibition).
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The V&A did a spectacular job showcasing these garments and accessories. The look of each room, the lighting, the music, all came together to add to, not detract from, McQueen’s work. The museum’s choice to include the stunning Kate Moss projection used at the end of the Fall 2006 Ready-to-Wear show, as well as showing the actual dress she wore, brought the whole exhibition together.
However, the huge room near the end, with shelves on all four sides displaying McQueen’s pieces, as well as video footage of different shows, was cluttered and crazy. I felt overwhelmed by the sheer number of garments, accessories, and people in this room. Also, for someone as short in stature as myself, to see the pieces near the top of the walls, I had to move all the way back to the center of the room. This was annoying; this space was one I could have done without.
Understanding how his background and personal life played such huge roles in his collections was fascinating to me. I think many, many creative types, including myself, can relate to that undercurrent of darkness or tragedy that plays into everything they produce. Truly special art, whether it be painting, sculpture, dance, or design, is a juxtaposition of different elements, emotions, and moods. John Steinbeck once said, “What is the warmth of summer, without the cold of winter to give it sweetness?” I believe that that rings particularly true for the life and art of Alexander McQueen.