Alexander McQueen, spring/summer 2001 Voss and Jonathan Demme, The Silence of the Lambs, 1991.
Alexander McQueen, spring/summer 2001 and Steven Meisel for Vogue, September 1993.
Alexander McQueen, spring/summer 2001 Voss and Steven Klein for Vogue Italia, 1999.
Kate och Cate bakom glaset.
Alexander McQueen, spring/summer 2001 Voss and Martin Crimp, Benedict Andrews (Botho Strauss), 2011 (1978), Big and Small (Gross und Klein).
Alexander McQueen, spring/summer 2001 Voss and Yves Saint Laurent, spring/summer 2008 ad campaign.
Alexander McQueen, S/S 2001 Voss
This curation has arrived to my favourite Alexander McQueen show ever. A Gothic influence yet a contemporary staging, which captivated the audience in its largest sense of the world as they felt trapped within their own mirrored reflection and saw the models trapped within the box. The box – ”a recreation of a psychiatric hospital in a London warehouse, complete with padded cells and surveillance mirrors – Voss’ catwalk was inspired by Death Row.” Lee himself saw this as one of his finest moments, to be able to turn the fashion world on themselves, and he kept them staring at their own reflection for two hours in attendance of the show (meanwhile he was giggling backstage). Another word for the scenery used by the brand and the press was the one of asylum: a sanctuary of peace and a housing for the insane.
Adding to the wonder of the show, an installation inside the box (inside the box) of the Joel Peter Witkin painting Sanitarium was re-created, with the writer Michelle Olley inside of it, nude and covered in moths.
This has inspired me so much that I am myself working on an installation and a play using this simple but effectful technology: of seeing while being seen.
Joel Peter Witkin, Sanitarium, 1983
And there is nothing like it after that in fashion, however in theatre:
Botho Strauss, Big and Small, (1978) 2011
Ivan Navarro, Reality Show, 2010