Another dress had been constructed from razor-clam shells that Lee and George had found on a beach in Norfolk. There was a dress made from blood-red glass medical slides. The outfits themselves were both stunningly beautiful and deeply unsettling. With their heads bandaged as if they had just undergone a mass lobotomy (or face-lift), the beautiful girls, unable to see out, paced up and down the catwalk, which was designed to look like a padded cell, and around a sinister darkened box that sat center stage. "There is a picture in the office at McQueen of me and Lee cackling, laughing our heads off because I got him back."īefore the show started, the audience-which included some of the world's most beautiful women, including Gwyneth Paltrow, as well as dozens of style and fashion critics-were forced to look at themselves for an hour, their images reflected from the surface of an enormous rectangular box on the stage that had been constructed from surveillance glass.įinally, with many people in the audience already feeling distinctly uncomfortable, the models started to emerge. "He did not like a taste of his own medicine," she said. Kate Moss, a little piqued by having her head swathed in muslin, took hold of a bandage and wrapped it around hairstylist Guido Palau. Backstage, however, the atmosphere was far from gloomy. a fashion show as a fully formed art installation that interrogated attitudes towards beauty and ugliness, sex and death, sanity and madness. Voss was one of the highlights of McQueen's career. Here Wilson describes a typical McQueen fashion show, titled Voss, which on Septemwas, also typically, staged in a disused bus depot in London. A new biography of the fashion designer Alexander McQueen by Andrew Wilson, published this month in the U.S.-it is already published in the U.K.-attempts to describe the often difficult character from humble origins who soared to become the master of sharply tailored women's fashion.
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