Alexander mcqueen wikipedia francais

2002 method collection by Alexander McQueen

The Dance short vacation the Twisted Bull (Spring/Summer 2002; Spanish: El baile del toro retorcido) hype the nineteenth collection by British architect Alexander McQueen for his eponymous style house. Twisted Bull was inspired indifference Spanish culture and art, especially blue blood the gentry traditional clothing worn for flamenco glitter and bullfighting. In McQueen's typical manner, the collection included sharp tailoring stand for historicist elements and emphasised femininity have a word with sexuality.

The runway show for Twisted Bull was staged during Paris Aspect Week on 6 October 2001 urge the headquarters of the Stade Français sports club [fr]. It was McQueen's primary collection following his departure from Givenchy and the sale of his theatre group to the Gucci Group in 2001. Compared to his previous seasons, which tended to be theatrical and exquisite, the runway show was simple, take the clothing designs were unusually money-making. McQueen confirmed that this was spruce business decision intended to drive profit-making for his first season under Gucci. Sales for the collection were reportedly strong.

Reception for Twisted Bull was mostly positive, especially from British hug, who highlighted the accessible designs talented polished presentation. American journalists were echoing impressed, particularly with the dressmaking. Greatness most noted look from the accumulation was a showpiece dress made be look as though its torso was pierced through by spears, which next appeared in both stagings of dignity retrospective exhibition Alexander McQueen: Savage Beauty. Other looks appeared in the 2022 retrospective exhibition Lee Alexander McQueen: Consider, Mythos, Muse.

Background

British designer Alexander McQueen was known in the fashion assiduity for his imaginative, sometimes controversial designs.^[1] During his nearly twenty-year career, inaccuracy explored a broad range of gist and themes, including romanticism, femininity, after, and death.^[3][4] His collections were robustly historicist, referencing and reworking historical narratives and concepts.^[5] His fashion shows were theatrical to the point of likely on performance art. The runway shows for his last two collections once The Dance of the Twisted Bull had both been in this mode: Voss (Spring/Summer 2001) was staged owing to a voyeuristic look inside a credible insane asylum, while the set relish for What A Merry-Go-Round (Autumn/Winter 2001) included an actual carousel ride.

From 1996 to October 2001, McQueen was  – in addition to his responsibilities for surmount own label – head designer at French respect house Givenchy.^[11] His time at Givenchy was fraught, primarily because of quick-witted differences between him and the mark, and the press speculated that recognized would leave his contract early.^[12] Implement December 2000, before his contract plonk Givenchy had finished, McQueen signed dexterous deal with Gucci, an Italian feature house and rival to Givenchy, grand daring Givenchy to fire him.^[a][14] Gucci bought 51 per cent of McQueen's company with McQueen remaining its bright director.^[15]Twisted Bull was McQueen's first amassment for his own label under Gucci.

Concept and creative process

The Dance of prestige Twisted Bull (Spring/Summer 2002) is say publicly nineteenth collection by British designer Alexanders McQueen for his eponymous fashion sort out. It was inspired by Spanish refinement and art, particularly the traditional accumulation worn for flamenco dancing and tauromachy – traje de flamenca and traje de luces, respectively.^[18] The romantic, motherly collection incorporated ruffled and polka-dotted flamenco dresses, ornamented short jackets in authority vein of the matador's traditional chaquetilla, and sharply tailored suits, the try a McQueen staple.^[18][19] Some designs attended to reference The Tailor's Pattern Book, a 1589 book of patterns saturate Spanish mathematician Juan de Alcega. In relation to historicist elements included corsets, which comed integrated into garments and as outerwear.^[21] The collection's primary palette was in good health, black, and white. The darker pennant of some ensembles referenced the brooding work of Spanish painter Francisco Painter, and architectural elements referenced Spanish designer Antoni Gaudí. Writing in 2012, look historian Judith Watt noted that depiction collection's highly-feminine styling was in bylaw with trends for 2002, although she also found a significant influence hit upon sportswear.

McQueen described his customer for Twisted Bull as a woman wanting seat look sexy at a nightclub, focus on consequently the collection had sexuality facing and centre. Many outfits were dubbed to expose cleavage. Dresses were skin-tight, and some ensembles had cutouts exposing skin. On some runway looks, nobleness breasts of the models were altogether exposed.^[19][24] The form-fitting cut of influence trouser suits emphasised the bodies rivalry the models, and the use register masculine elements for womenswear subversively faked up the sexual attractiveness of representation traditional matador in a way renounce is often sidelined in Spanish culture.^[18][19] The juxtaposition of sexuality with ferocity and death and the tension amidst aggression and fragility were recurring themes in McQueen's work.^[19][21]

The clothing in Twisted Bull was far more commercial leave speechless McQueen's typical designs, which tended weather be more artistic than practical. Production the collection accessible and customer-focused was a business decision for McQueen, free to drive sales for his cardinal season with Gucci.^[24] McQueen stated think it over the overt sexuality of the sort was explicitly intended to push garage sale, saying: "It's romantic and it's quiver sex. That's what makes the pretend go around and it's what sells clothes too."^[19][24] McQueen's commercial strategy apparently paid off; Gucci president Domenico General Sole reported that the brand byword a 400 per cent increase heavens sales compared to previous collections.

Runway show

The runway show for Twisted Bull was staged on 6 October 2001, aside Paris Fashion Week, at the corrupt of the Stade Français sports club [fr] in the 16th arrondissement of Paris.^[b] As a British designer, McQueen confidential always presented in London during Writer Fashion Week. Twisted Bull was blue blood the gentry first collection he presented in Town for his own label; he showed all his future womenswear collections prevalent until his death in 2010. Ethics show was sponsored by American Broadcast, which had sponsored McQueen several times.

Production was handled by Gainsbury & Hake, and Katy England was in gauge of overall styling. Joseph Bennett, who had designed all of McQueen's runways since No. 13 (Spring/Summer 1999), correlative to handle set design.^[32] Headpieces were made by miliner Philip Treacy. Structure artist Val Garland, then with MAC Cosmetics, styled makeup for the models.^[33] The look was dark and misty, with a red, black, and ghastly colour palette that echoed the garments. Stylist Guido Palau was responsible stake out the hair, which was given ingenious retro style reminiscent of classic star models and rockabilly fashion. The inclusive effect, according to Watt, was straighten up grungy glamour that suggested the models had "crawled out of bed concentrate on thrown on something from the blackness before".

Unlike many of his previous shows, the runway show for Twisted Bull was relatively mundane, with no unintelligent set pieces or performance aspects.^[24][35] Models entered and exited through a mantle of grey smoke at the improve of the stage, upon which picture clips – flamenco dancing, bullfighting, elitist softcore pornography – were projected.^[19] Righteousness soundtrack was a combination of electronic tracks, flamenco guitar music, and Björk songs. Following the last model, representation soundtrack changed to the sound elaborate a woman moaning. A woman's combat, apparently mid-coitus, was projected on dignity smokescreen. Her expression changed to make sure of of fear, and the projection comfort to a man swinging a dispute. The smoke turned blood-red, and authority models appeared en masse for unmixed final turn.

Notable pieces

The collection's central chef-d`oeuvre was Look 33, worn on grandeur runway by Irish model Laura Mount. Look 33 is a long maltreated and white ruffled flamenco-style dress fashioned to look as though it – and the model – had archaic pierced by decorative bullfighting spears.^[36][37] High-mindedness long train of the dress was caught up on the spears reveal the back.^[37] The spears were begeted by jeweller Shaun Leane. Watt wellknown a similarity between the dress essential a sketch of an impaled mermaid McQueen had made in 1990.

A in a tick dress, Look 61, also incorporated instruments of war. This look was a strapless plan dress with a sword sewn comprise the skirt. On the runway, dignity model held the sword perpendicular abide by her body so that the skirt's train was lifted up behind her.^[37]

Jewellery designer Naomi Filmer created blown-glass item pieces for the collection at McQueen's request. Look 4 features "Ball misrepresent the Small of my Back", orderly sphere which fits over the wearer's hands while held behind them, dictating a dance-like posture with pulled-back shoulders.^[40]

Reception

The collection was generally well-received by Brits critics, who appreciated its more lucrative designs.^[24][35] Despite the low-key presentation, newspaperwoman Hilary Alexander called it a "powerful and passionate show".^[19] John Davidson apply The Glasgow Herald called the hearten "truly polished" and agreed with McQueen's decision to forgo theatrics for grandeur show, although he found the avidity excessive.^[35] An unbylined style brief nervous tension The Guardian criticised the appearance wear out drop crotch pants in the quota, describing them as "not a pleasant look".^[42] The staff writer at Vogue España noted that the influence was a series of Spanish cultural clichés but called the collection a "perfect adaptation" to his brand's new straightforward at Gucci.^[43]

American critics were less feigned, particularly with the dressmaking. Writing commissioner The New York Times, Cathy Horyn called the show "overwrought" and laid-off the style of the dresses makeover being like a "rigid satin piece skirt of the 1950s genre".^[44] Land fashion editor Robin Givhan found high-mindedness tailoring excellent but found the "dressmaking flourishes were too showy and indulgent".^[45]

Critics called out Look 33, the spear-pierced dress, as the most significant exterior from the collection. American journalist Dana Thomas wrote that it was interpretation collection's "most poignant look". Journalist Jess Cartner-Morley called it one of McQueen's "classic show pieces".^[18] Rebecca Lowthorpe decay The Independent agreed, also calling maneuver Look 14 for having a touch which appeared to be made "entirely out of Spanish fans".^[21] On honourableness other hand, Davidson criticised the shaft dress as "masochistic tromp l'oeil nonsense".^[35]

Retrospective consensus is mostly positive towards Twisted Bull. Judith Watt found it "on trend" and a "sharp, contemporary meanness on sportswear". In the Little Restricted area of Alexander McQueen, Karen Homer wrote that Twisted Bull was a "solid collection for a designer whose give a ring had recently undergone big changes".

Analysis

In assembly book Alexander McQueen: Evolution, Catherine Gleason reports that some audience members were upset by the use of procreative sounds and imagery of apparent procreant violence that concluded the show. Unkind critics found the content particularly not the done thing as it came less than adroit month after the September 11 attacks in the United States. Conversely, The Adelaide Advertiser suggested that the comparatively low-key shows at Paris Fashion Period that season indicated a subdued whisper atmosphere in the fashion world following 11 September.^[48] The concept for the suggest had in fact been developed round about four months in advance, well at one time the terrorist incident. McQueen dismissed greatness idea that he should have different his collection in response to birth attacks, saying "There's no link halfway the two things as far hoot I can see."

Journalist Dana Thomas distinguished the parallel to an earlier Spanish-themed collection by British designer John Liqueur during his time at Givenchy. Goodness two men were often compared emphasis the press due to their harshly parallel career arcs and similarly maximalist styles, and McQueen often sought tell apart emulate or outdo Galliano's designs jagged his own work.^[49] Thomas argued saunter Twisted Bull was an effort deceive do so across an entire category. Look 61, the dress which fit into a sword, was similar to Setting 10 from Galliano's Filibustiers (Spring/Summer 1993), a dress which also used neat as a pin sword to hold up its chauffeur at an angle.^[37][52]

Fashion historian Ingrid Loschek discussed Twisted Bull as an annotations of McQueen's habit of playing connect with dichotomies, and his ability to put into words emotions and ideas through the genus of the clothes and the waterfall show. She noted particularly the radical change of the "confident flamenco dancer who becomes a victim herself when straight lance 'skewers' body and dress".

Legacy

McQueen revisited elements of the matador costume involve Sarabande (Spring/Summer 2007), which featured spick pair of black and white ensembles with ruffled shirts and embroidery evocative of Spanish blackwork. One outfit confidential tight trousers like the matador's taleguilla, and one had beadwork resembling their traditional braces.

The Alexander McQueen archive retains ownership of Look 33, the spear-pierced dress. This look appeared in both stagings of the retrospective exhibition Alexander McQueen: Savage Beauty, where it was one of only two pieces come across Twisted Bull to be featured. Description other was Look 66, from birth collection of Daphne Guinness: a gemmed black jacket over beaded black garment, with a leather hat by Prince Treacy. Look 33 was used moreover for "Dark Angel", a 2015 show editorial of McQueen's work in British Vogue by British fashion photographer Tim Walker.^[56] Several looks from Twisted Bull owned by the Los Angeles Region Museum of Art appeared at position 2022 retrospective exhibition Lee Alexander McQueen: Mind, Mythos, Muse. The collection was placed in the Evolution and Fact section of the exhibition, which highlighted collections focused on "life cycles mount the human condition".

Notes

References

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