![]() ![]() You were able to photograph McQueen’s works on live models because they weren’t accessioned Museum objects, right? For this reason, no one may wear a garment after it enters the collection. The dramatic movement of the costumes shown in this photograph was only possible with live models.Īs with any works of art in The Met collection, the staff preserves and protects all accessioned costumes from deterioration. Andrew Bolton, “Alexander McQueen: Savage Beauty” As a designer, he doggedly promoted freedom of thought and expression and championed the authority of the imagination.” “Like Byron, Beethoven, and Delacroix, McQueen is an exemplar of the Romantic individual, the hero-artist who staunchly followed the dictates of his inspiration. The shots are dramatic and better reflect how McQueen’s clothes are made to be seen. Their focus is on the clothing, and the garments look natural because they were photographed on living bodies. The final images, which kept the hands and eliminated the hardware, worked. It was fine to be dark, but we didn’t want the images to be creepy. The first test shots came back with some of the model’s hands and heads edited out and replaced with hardware. It was Sundsbø’s idea to make the live models look like mannequins using white body paint and post-production retouching. One of the things that made the Savage Beauty catalogue such a success is the evocative imagery by fashion photographer Sølve Sundsbø, and I think readers might be interested to know that there is a little more to the photographs than meets the eye. Look a little closer-that isn’t a mannequin on the right! I spoke with Gwen Roginsky-who has served as the publication director and production manager of Costume Institute books for twenty years-about her experience working on the Museum’s best-selling publication to date. Written by Andrew Bolton-with an introduction by fashion journalist Susannah Frankel and an interview with Alexander McQueen’s creative director, Sarah Burton, conducted by Tim Blanks-this stunning book remains an essential publication on the groundbreaking artistry of this provocative designer. This year we celebrate the tenth anniversary of the exhibition and its publication, which has sold over 340,000 copies and counting. The makeup artist was like, ‘please don’t cry,’” she continued.Alexander McQueen: Savage Beauty opened at The Met in 2011. But I had these like feathers attached to my eyelashes so as I was crying they were undoing. “I was like, ‘Is it a T-shirt or something?’ No, it was this. “I didn’t have a fitting, so when I showed up at the show, I was like, ‘What am I wearing?‘” She said, explaining she knew a few words in English and would pretend to understand the rest. Once she booked the job, there was no fitting, so she had no idea what she was going to wear. And he was just sitting on this couch and he would go and say, ‘walk’ and he would put you in these impossible shoes,” she recalled. “But when I went to the casting for Alexander McQueen, there was a like a thousand girls around the block. “I remember going to all these castings and nobody would even look at my book because it was the heroin chic time and I didn’t look like nothing like the heroin chic, obviously as you can see in this photo,” she quipped. ![]() Bündchen shared some insight into how hard she hustled at the start of her career, “I mean I didn’t know English, it was my first show season in London.
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