I was one of the 1,500 + people who stood in line for hours (4 1/2 in my case) for one last shot to see Alexander McQueen: Savage Beauty at The Metropolitan Museum of Art. I didn't mean to wait until the last day, but I spent most of the year in South Jersey and I had a hard time fitting it in my schedule.
But I certainly wasn't going to miss it...
I was incredibly unprepared to stand in line for 4 1/2hours - I should have brought more water, more food and forgetting to charge my phone before I left home (it was dead two hours in) deprived me of reading on Kindle for my iPhone and playing my new favorite game, Words With Friends. I can hardly believe that I didn't even have a book on me! So, I was left to that age-old New York practice of people watching - and giving the evil eye to jerks who tried to cut the line.
I don't really get inspired by specific women. It's not like you see a beautiful woman and she becomes your muse. It's more in the minds of the women in the past, Catherine the Great or Marie Antoinette. People who were doomed. Joan of Arc or Colette. Iconic women. Alexander McQueen
Supercalifragilisticexpialidocious, autumn/winter 2002–3. Coat of black parachute silk; trouser of black synthetic; hat of black silk satin. Hat by Philip Treacy for Alexander McQueen courtesy of Alister Mackie.
Dante, autumn/winter 1996–97. Lilac silk faille appliquéd with black silk lace and embroidered with jet beads.
Plato’s Atlantis, spring/summer 2010. Dress, leggings, and “Armadillo” boots embroidered with iridescent enamel paillettes
It’s Only a Game, spring/summer 2005. Dress and obi-style sash of lilac and silver brocade; jacket of lilac silk faille embroidered with silk thread; top of nude synthetic net embroidered with silk thread.
Irere, spring/summer 2003
Ivory silk organza, georgette, and chiffon
Working in the atelier at Givenchy was fundamental to my career... Because I was a tailor, I didn't totally understand softness or lightness. I learned lightness at Givenchy. I was a tailor at Savile Row. At Givenchy, I learned to soften, for me, it was an education. As a designer, I could have left it behind. But working at Givenchy helped me learn my craft.
Widows of Culloden, autumn/winter 2006–7
Cream silk tulle and lace with resin antlers
Courtesy of Alexander McQueen
This video of the hologram featuring Kate Moss in the ivory silk organza and tulle gown that she wore at the finale of his Fall 2006 Widows of Culloden collection was shown next to the creation.