Communication Through Museum Exhibitions: Fashion as Art through the Alexander McQueen: Savage Beauty Exhibit
Written by Luxe Dante Aurano in Spring of 2024.
Introduction
Museum exhibitions are a production to excite visitors to come and view a physical narrative of display. Exhibitions often have many themes and ideas built into their displays, and many forms of art mediums are used to communicate those ideas to their visitors. Through exhibition design, curators and interpreters are responsible for expanding on themes surrounding art, making the experience more entertaining and informative. Overall, museums at its best can be great research institutions supporting human knowledge and promoting curiosity.
Art is the creative expression of the human experience and imagination. Some art mediums are straightforward while other forms have more room for interpretation and subjectivity. When discussing the conversation of connecting fashion to art, it can be dissected that fashion, simply put, is a technique to adorn the body with clothing. What separates fashion with something like costume on the other hand has more to do with additional adornment, making it an art form. As mentioned by Polaire Weissman’s The Art of Fashion, “Costume is a complex of many factors. It has components found in works of art: it has form, color, and texture; it is symbolic, it serves an important function in ritual and superstition, and it also communicates” (Weissman 151). So if costume can be considered art, can some forms of fashion also be considered art?
The answer is yes, but to a degree. Not all forms of fashion is considered art, but it ultimately depends on the design of the garment, the additional embellishments, and the possible symbolism incorporated into its design. If the garment includes such traits, then the item can be considered a form of applied art, which is the application of decoration to everyday objects, overall enhancing it–and in this case it would be clothing.
The Costume Institute is a great institution that strictly collects and preserves costume and fashionable objects from the 15th century to present day. The Costume Institute houses the costume collections for both The Brooklyn Museum as well as The Metropolitan Museum of Art. And with their collection, they have yearly fashion exhibitions to examine the many themes of fashion and costume history. Some of the more recent popular exhibitions that have been on display were: PUNK: Chaos to Couture in 2013; China: Through the Looking Glass in 2015; and their most attracted exhibition, Heavenly Bodies: Fashion and the Catholic Imagination in 2018, which brought in more than 1.65 million museum visitors for the exhibit viewing alone (“The Costume Institute”). Through these fashion exhibitions, the communication of fashion as art is the main viewpoint. While many of these exhibits incorporated different designers to help convey each exhibition theme, Alexander McQueen: Savage Beauty in 2011 was an exceptional fashion production from The Costume Institute that created a retrospective for the impactful late fashion designer.
Biography on Alexander McQueen
Alexander McQueen was an influential artist and fashion designer. While he is known to design clothes, many of his works can be considered a form of costume, categorizing his work as applied art. McQueen was a romantic at heart, and looked to the macabre and unconventional aspects of life to find beauty and inspiration. He was able to turn the grotesque into something that is glamorous. And at his peak, he was a disrupter and leader within the fashion industry.
Alexander McQueen–also known as Lee McQueen–started his fashion career on Savile Row, which is a street in central London known for many bespoke tailoring boutiques. McQueen began his apprenticeship at Anderson & Sheppard, where he learned and mastered the art of hands-on sewing, cutting, and tailoring—then later becoming a coat-maker. After the knowledge gained from Anderson & Sheppard, McQueen then joined Grives & Hawkes–which was another tailoring boutique on Savile Row–and this is where he learned the cutting and tailoring of trousers. Understanding the complete craft of bespoke tailoring, he became a master tailor, mastering the architecture behind suiting (Watt 17-23).
Alexander McQueen was a fashion sponge, as he took in all the needed information that allowed him to succeed in his future career. Following his journey in tailoring, he continued his independent education in pattern making by working for Koji Tatsuno—who was a Japanese designer based in London who focussed on innovative avant-garde techniques in fashion design. Here, McQueen’s fantasy was revealed, as he was able to do more with practical clothing, furthermore creating sculptural and unconventional garments (Watt 24-27).
Continuing with McQueen’s ambition and the creative art of fashion, it ultimately pushed him to go to Milan, where he found a job as a pattern cutter for fashion designer, Romeo Gigli for a few years. This collaboration between McQueen and Gigli ended in 1991, when the future of the Gigli brand became uncertain for success (Watt 28-36).
With his experience in working for these many tailoring and design houses, McQueen ultimately decided he too wanted to become a fashion designer himself. He was then was introduced to Central Saint Martins, a respected arts and design college in London. Connecting with the Head of the MA fashion course at Central Saint Martins, Bobby Hillson, McQueen made a lasting impression on her, showing off his experience from previous career endeavors. Hillson could immediately see the talent and ambition within McQueen, and immediately offered him a spot in the MA fashion program. His education at Central Saint Martins is what allowed him to fully dive into his creative design habits and macabre inspirations (Watt 32-38).
Epitomizing the darker aspects of life, McQueen looked to Jack the Ripper as inspiration for his 1992 graduation collection titled Jack the Ripper Stalks His Victims. Within this collection, we can see McQueen’s strong interest with history and the macabre, as the models within this collection all looked as if they had just encountered an escape from Jack the Ripper (Watt 39-41).
These darker themes of inspiration are what ultimately defined many Alexander McQueen collections following his education at Central Saint Martins. His strong appeal to the dark and ugly, and his ability to twist it to a degree of sophisticated style is what made him a fantastic storyteller. Referencing many historical plots and fictional narratives, McQueen utilized these accounts alongside his creative process to mold characters for his own unique fashion universe.
Analysis of Alexander McQueen: Savage Beauty Exhibit at The Met
Within the Alexander McQueen: Savage Beauty exhibit–originally shown at The Metropolitan Museum of Art in 2011–costume curator in charge, Andrew Bolton, alongside many artistic collaborators associated with Alexander McQueen and The Met created a retrospective exhibit that dissected the many themes of the late designer’s extensive fashion career.
Alexander McQueen took his own life on February 11th, 2010. After battling anxiety and depression for three years, alongside the work load of being a fashion designer, and hearing the news of his mother’s passing; the overwhelming feelings inside him resulted in him choosing to end his own life. Alexander McQueen was a true talent, as mentioned in The Guardian, “The fashion world also paid tribute. Alexandra Shulman, the editor of British Vogue, called McQueen a ‘modern genius’ while Dame Vivienne Westwood said she was ‘incredibly sorry’” (Jones). A little over a year later–in May of 2011–the Alexander McQueen: Savage Beauty fashion exhibit officially opened its doors at The Metropolitan Museum of Art in New York, to not only pay tribute to McQueen’s impact on the fashion industry, but to also pay respects to his life and career.
Simplified by The MIT Press, “the exhibit highlighted how his designs created radically new possibilities for both reflecting and expressing cultural, historical, and subjectively political imaginaries. In doing so, the show provided a glimpse into the emotional dimensions of McQueen’s work, as well as the intimate and collaborative relationships that so profoundly shaped it” (Moon 102). Although, simply put, the exhibit did more than just offer a glimpse into McQueen’s world, but placed the visitor into the world of his Savage Beauty.
During his fashion tenure, Alexander McQueen was known to provoke his audience through his fashion shows. His fashion shows were a mix of theater and performative art. Each room within the exhibit was like experiencing many of his fashion shows, as the production value for the display was in tune with many of his collection themes. This was done by collaborative efforts with those who actually collaborated with McQueen and his past fashion show productions. As mentioned in The University of Chicago Press Journal’s review on the exhibit, “The retrospective greatly benefited from Sam Gainsbury and Joseph Bennett’s display design and from John Gosling’s soundscapes. Because they had helped McQueen stage some of his most spectacular fashion, their joint contribution evoked the designer’s memorable catwalks” (Bekefi 245).
The inclusion of these artistic collaborators not only resulted in a true retrospective exhibit, but also offered a taste of what it was like to experience the world of Alexander McQueen first-handedly. Through thoughtful exhibition design elements such as interior design, mannequin display, display furniture, material choices, sound effects, lighting, and special effects (wind and projection); it created an environment that transported The Metropolitan Museum of Art visitor directly into the mind of Alexander McQueen.
“In most cases displays are created in spaces that already exist, and the nature and character of these spaces can affect both the selection and material and the way it is displayed. There are also many instances where display spaces are purpose-built for exhibitions and here we see how the features of such spaces can be used to reinforce and complement aspects of the display and its messages” (Moser 25). We see these traits being implemented into the seven gallery rooms of the exhibition, dissected in the following:
The entrance of the exhibition begins with the reveal of two contrasting mannequins in which help to visually define the many contrasting themes in McQueen’s work. This then leads into The Romantic Mind. This gallery is made up of concrete, which subtly hints to the rawness of McQueen’s earlier works in learning the arts of tailoring and pattern cutting from Savile Row. Here, the visitor is able to view his tailoring works and how he was able to break the conventional boundaries of the silhouette, ultimately giving the viewer the perfect introduction to his start in fashion. Romantic Gothic is designed with aged mirrors. This design element draws inspiration to Edgar Allan Poe’s work, “The Fall of the House of Usher.” Also drawing many inspirations from Edgar Allan Poe overall, McQueen also found great inspiration in the darker gothic realm, which helped him create great narrative driven collections. The gallery also includes a portion McQueen’s posthumous collection in which continues to amplify his inspiration in the arts, specifically in Flemish Renaissance Art for this example. Cabinet of Curiosities was designed from its older namesake practice of collecting objects and art from a wide variety. Initial cabinet of curiosities often defined certain stories of the world, but in this case, this gallery is defining the many stories of Alexander McQueen. Headpieces, sculptural shoes, creative bodily armor, and costume-like pieces were displayed. The gallery itself defines many of the included pieces as art itself, because they naturally would not be implemented into normal dress. Continuing into Romantic Nationalism, this gallery was made of decorative wood. As you walk through the room, you are faced with another set of conflicting themes, but this time it would be McQueen’s personal affiliation with Scottish and British ideology. A grouping of equally dressed mannequins on each side—the left being the Scottish, and the right the British—visualized the Anglo-Scottish wars; another moment in history where McQueen defined through fashion. The second half of the gallery–designed entirely of raw wood–included the highly provocative collection from 1995, titled Highland Rape. This visually violent collection was “based on the eighteenth-century Jacobite Risings and the nineteenth-century Highland Clearances... a powerful and heartfelt declaration of McQueen’s Scottish national identity” (Bolton 14). Romantic Exoticism was designed with mirrors to create additional dimension, and turntables for mannequin placement to create a feeling of a music box. Finding inspiration in the east–Japan, China, and India–detailed embroidery and patchwork was then skillfully utilized through these included garments. There was then a miniature version of his iconic 2001 Voss collection, which was a runway show that was shown through a box made up of two-way mirrors. The models acted as individuals set in an insane asylum, and could not see the audience while they viewed the collection. Then leading into Romantic Primitivism, the gallery is designed with rusty metal. The included collection here were pieces from his 2003 collection Irere, which drew inspiration from a shipwreck, overall emanating an aquatic and primitive theme for the garments. Finally leading into Romantic Naturalism, we see many garments that drew inspiration from the natural world, such as raw materials like literal florals or deer antlers. This gallery completes with McQueen’s final full 2010 collection before his passing, titled Plato’s Atlantis. Here, we not only see many natural themes such as aquatic, earthbound, and terrestrial; but these themes are then digitally merged to create a complete new pattern of conflicting prints: snakeskin with fish scales to metals with water waves (exhibition analysis summarized from “Alexander McQueen: Savage Beauty - Gallery Views 20011”).
As the exhibit ends with the Plato’s Atlantis collection, the viewer is then brought back full circle to the introductory themes of the previously mentioned contrasting ideas. From light and dark, man vs. machine, to opposing elements; these fashionable narrative juxtapositions have defined many works of Alexander McQueen. His ability to create singular objects that included many themes of art, history, and the world are what ultimately allowed Alexander McQueen to exceed fashion industry standards, making him an ultimate fashion story teller.
Critical Discussion: Communication Through Museums, and “Is Fashion Art?”
So is fashion considered art? And who gets to define whether or not fashion can enter the world of art? In conversation with The Met, titled Is Fashion an Art?, we are introduced to modern sculptor Louise Nevelson, and total theater producer Alwin Nikolais, who both feel that fashion is not art. From the perspective of Louise Nevelson, “to qualify as an art, fashion must be an expression of the wearer and must relate to her environment. She dismisses the concept of fashion being a designer’s idea or a fleshless sketch” (Nevelson 133). While acknowledging that not all fashion can be an art form, Nevelson’s perspective does not dismiss the possibility of fashion being art completely. Through the Alexander McQueen: Savage Beauty exhibition we see a complete dissection of how McQueen amplified his ideas through garments, but we also saw his ability to create wearable expression that related to many forms of environments. From the offerings of earth, historical references, to fictional narratives; Alexander McQueen combined traits of being a fashion designer and an artist to create an expansive portfolio that blurs the lines between clothing and art.
Furthering this conversation, Alwin Nikolais–dance theater producer–is involved in the many steps for his theater productions: music, environment, and creating his own costumes for the show. As an individual who not only designs costumes, he feels that the costumes are not the art, but instead add-on to and compliments his overall performative art. He states, “fashion is not an art because women rely so much on other people to design them... Clothes should state yourself... so for clothes, fashion, to be an art, a woman would have to design herself” (Nikolais 136). With this perspective, McQueen would be defined partially as an artist; while he may create clothes for women to wear, Alexander McQueen: Savage Beauty reveals the creations that can’t be worn, designed with defining characteristics of its time. Through these experimental garment creations, McQueen created his own performative art, with characters, narratives, and environments. We see this extension of his world through the exhibit, as well as his ability to break the conventional defining boundaries of fashion and art.
What’s important to note is where the exhibition was displayed and the institution that helped create it. While the exhibit was a collaborative effort, the defining creator would be that of The Metropolitan Museum of Art in New York City. The Met Museum, and its counterpart, The Costume Institute, are responsible for its planning, creation, and presentation. Through communication within exhibitions, Alexander McQueen: Savage Beauty was an ultimate example of how fashion can be art. The retrospective exhibit gave the viewer the opportunity to broaden their definitions of what can be defined as art.
Conclusion
With The Met museum, specifically The Costume Institute, they are leaders in defining what aspects of fashion is art. The Costume Institute is home to thirty-three thousand fashion garments and objects that are categorized as art. This department within The Met is ultimately what allows people to understand exactly how fashion can be considered art through elaboration. With object curation, exhibition design, and interpretive elements; museum visitors are able to understand more on this subject just as any other art department within a museum. With the impact of museums on society, their analysis through exhibitions and reputable sources create understanding and reflection for their daily visitors.
Citations
“Alexander McQueen: Savage Beauty - Gallery Views 2011.” YouTube, uploaded by The Met, 10, May 2011, https://www.youtube.com/watch?v=Pg0HwLAJyV0
Bekefi, Fruzsina. “Alexander McQueen: Savage Beauty.” West 86th: A Journal of Decorative Arts, Design History, and Material Culture, Vol. 22, No. 2 (Fall-Winter 2015), pp. 244-249
Bolton, Andrew, et al. Alexander McQueen: Savage Beauty. The Metropolitan Museum of Art, 2011.
Jones, Sam. “Alexander McQueen hanged himself after taking drugs.” The Guardian, 28, April 2010, https://www.theguardian.com/lifeandstyle/2010/apr/28/alexander-mcqueen-suicide-verdict-inquest
Moon, Christina, et al. “Alexander McQueen’s Iconic Designs.” Design Issues, Vol. 28, No. 1 (Winter 2012), pp. 101-104
Moser, Stephanie. “The Devil is in The Detail: Museum Displays and the Creation of Knowledge.” Museum Anthropology, Vol. 33, Issue 1, pp. 22-32
Nevelson, Louise. “Is Fashion An Art?” The Metropolitan Museum of Art Bulletin, November 1967, New Series, Vol. 26, No. 3 (November 1967), pp. 129-140
Nikolais, Alwin. “Is Fashion An Art?” The Metropolitan Museum of Art Bulletin, November 1967, New Series, Vol. 26, No. 3 (November 1967), pp. 129-140
“The Costume Institute.” The Metropolitan Museum of Art, https://www.metmuseum.org/about-the-met/collection-areas/the-costume-institute
Watt, Judith. Alexander McQueen The Life and Legacy. Harper Design, 2012.
Weissman, Polaire. “The Art of Fashion.” The Metropolitan Museum of Art Bulletin, November 1967, New Series, Wol. 26, No. 3 (November 1967), pp. 151-152