A Wardrobe Fit for a McQueen: The Met Gala's Ode to Alexander

Every year The Metropolitan Museum of Art's Costume Institute Gala is one of the most epic nights in fashion.  It may be because we are all craving more red carpet fodder after the post Oscar drought. Or, it may be because it is one of the few occasions where it is not only expected, but completely appropriate to pull out all the stops. I personally love this event because it is the one time of year proper credit is given to the visioniers behind pieces that we wish would fill our wardrobes.

Pointed out by ThreadNY, The Gala has a long history.  The Gala first started 1948 when, due to the delicate nature of its collection, they could no longer sustain a permanent collection in The Met's "basement."  The ticket's cost only $50 and the women who attended could actually wear costumes from their collection. (Oh! What I wouldn't give to rifle through the wardrobe of the Costume Institute. Let alone wear something from it! It contains over 75,000 garments and accessories!)

Although Vogue's, Anna Wintour, attended her first Met Gala in 1988, it wasn't until she hopped on board as Co-Chair of the Gala in 1995 that it became a truly star-studded affair. The Gala has since honored legendary designers such as Chanel, Yves Saint Laurent, and this year, Alexander McQueen. They have also organized the shows based on style icons such as Jackie Onasis and Iris Apfel. These special exhibits have not only provided a venue for historic red carpet moments, they have also provided a venue for showing the sometimes overlooked artisnal qualities of fashion. It doesn't hurt that the event also helps raise a ton of money.

Anna Wintour attending the 1988 Met Gala

Anna Wintour at the 2011 Met Gala
wearing custom Chanel Haute Couture

Having Alexander McQueen inspire this year's Gala also inspired some pretty daring fashion. Starlets who usually play it a little safe took the opportunity to spice it up and take a leap of fashion faith, (ahem, Taylor Swift). I personally think it was a leap well worth it...With J. Mendel holding your hand it's generally hard to go wrong.  Or, Ginnifer Goodwin in Topshop. The color is a bold choice but a spot on trend for the upcoming fall season, and I love it paired with the graphic shoe and pixie haircut. For those of you who were wondering, Topshop is model (and close friend of Alexander McQueen) Kate Moss's line.


Taylor Swift wearing J. Mendel with the dress' designer
Gilles Mendel



Ginnifer Goodwin in Topshop

While others, who already like to push the fashion envelope took it one step further.  Nina Ricci's dress is definitely one that will cause some debate. Some may think it's a little too "costumey" but then again it is the Costume Institute Gala. I think Alexander McQueen would have appreciated the ethereal texture of the dress, and the extreme silhouette.

Christina Ricci in Zac Posen, with the dress' designer
at her side.  A strong interpretation of the night's theme:
"Savage Beauty"

The McQueenian theme seemed to bring out the dark, Gothic side of many of the attendees, and rightfully so. It also seemed to awaken their love for feathers and Klimt like studies in glitter.  Liv Tyler chose to support the feather trend in a cream and yellow Givenchy number. I like that Liv Tyler wore Givenchy, the design was actually a little reminiscent of the collections when McQueen was their creative director. One of my other favorites for the night, Diane Kruger in Jason Wu. It's a whole lotta leg, but the gorgeous Klimt-esqe detailing at the top balances her out. I doubt anyone else could pull this off without looking a little too scandalous.



Liv Tyler in Givency with the dress' designer
Riccard Tisci



Diane Kruger in Jason Wu

While the celebs who attended last night's gala were able to remember him through his work by getting the first look at the Museum's "Savage Beauty" Exhibit (us normies have to wait until May 4 to actually walk through) we are able to remember him by the fashion worn by his many muses on the red carpet.  While Sarah Jessica Parker once walked hand in hand with McQueen on the red carpet, she now represented him in an amazing sparkling gown from the McQueen Archives. 

Alexander McQueen with Sarah Jessica Parker
in matching McQueen Tartan at the Met Gala
2006

Sarah Jessica Parker in Alexander McQueen Met Gala 2011

I thought another muse of McQueen's ,Naomi Campbell's, feathered dress was one of the more avant-garde of the night. It was amazingly unreal.

Naomi Campbell in Alexander McQueen

I'm also sure he would have smiled about the bit of theater put on by one of his most influential muses and dear friend Daphne Guinness as she got dressed for the event live, in a Barney's window in this feathered McQueen runway dress. If you weren't lucky enough to have been walking down Madison Avenue & 61st at 5pm thanks to New York Magazine's The Cutblog, you can watch the performance online here.  (I'm not exactly well-versed in performance art... What are your opinions?)



Daphne Guinness in Alexander McQueen

The night was a wonderful tribute to a legendary designer and one of the better red carpets in a really long time.  The Costume Gala's already established reputation as a no-holds-bar event was the perfect venue to showcase the avant-gard, theatrical, and inspirational designs of Alexander McQueen.

McQueen for a Day Part III:The House of Broderick

Kate Middleton isn't the only one who gets to rock the Alexander McQueen label this week.  While I am not fortunate enough to have the designer’s runway looks or red carpet gowns, my wardrobe is host to some of his more accessible accessories and his diffusion line McQ.

The most prized possession in my wardrobe is this Alexander McQueen Moth Rosette Scarf. The color is the perfect complement to alabaster skin and red hued hair. Although the scarf is part of the Spring 2011 collection the print is a distinct call out of the moth prints seen in McQueen’s Spring 2010 “Plato’s Atlantis” line... the last full collection presented by the designer himself.  I feel like I'm wrapping a little bit of history and a whole lot of genius around my neck when I wear this piece. The scarf is subtle and demure- romantic with a hint of gothic grotesqueness that is just strong enough to keep it from being sickeningly sweet.  As a textile designer myself, I appreciate the manipulative use of repetition, the intricate gradations of colors, and McQueen's modern technique of digital printing. Another thing I love about this scarf- its size. At a whopping 55 x 55 inches the ways to tie and wear this lovely beast are infinite.

Speaking of scarves…While most people wear Alexander McQueen's famous skull motif in scarf form, I choose to sport it on my wrist.

I adore this cuff for a couple of reasons: (aside from the fact that it was given to me by my wonderful boyfriend.)

1)      I think the motif represented on metal is intrinsically a little more "rock star."

2)      It is an accessory not a centerpiece. The bracelet easily spices up any outfit (especially because the neutral color goes with nearly everything) but doesn’t overpower it.

3)   It is unexpected. 



By now, celebrities such as Nicole Richie, Mary Kate Olsen, and Lindsay Lohan have catapulted the skull scarf to cult status. It has become the iconic “must have” piece from the label.



Nicole Ritchie wearing
 Alexander McQueen
 skull scarf

I like that my cuff isn’t quite as trendy as the scarf, and far less knocked off. It also flies under the radar quite nicely, but when it is noticed it makes a big statement.  The unassuming mushroom color as a backdrop to the white skulls insists that you look closely at the piece. While the skulls usually scream "ALEXANDER MCQUEEN" in this case they merely whisper it loudly.

Alexander McQueen wide skull bracelet in mushroom



Both accessories are perfect accompaniments to this McQ tweed blazer from 2010. The safety pin closure is a telltale McQueen emblem that has left its mark season after season.  In fact this year, the first year that Sarah Burton has taken over design for the McQ line in addition to the main line, Burton pays homage to "Lee's" love for tartan and safety pins.  The jacket also contains McQueen’s hallmark element of contrast.  The structured shoulders set off the delicate ruching at the waist, and the menswear fabric is balanced by a feminine cut.

It was more “McQueen for a Day… Or Two,” for me this week.  On Thursday I donned this cobalt blue McQ "Moire"dress… undoubtedly another of my favorites. This is a great example of McQueen's trademark “heritage silhouettes.”   The tailored bodice has darts in just the right places and the perfect amount of stretch in the fabric so that it fits like a glove. The pleating at the hip allows the skirt to lie flat across the front and ruffle at the sides. The shadows and movement this creates makes the dress that much more flattering.  It’s an effortlessly classic silhouette that is updated for 2011 with an exposed double zipper running down the back.  That is one of the most interesting aspects of this dress.  Depending on which angle you stand and the accessories you chose, you can be a traditional Stepford Wife or more akin to a Desperate Housewife (a la Eva Longoria). What else would you expect from the “McQueen” of beautiful of duplicity?

McQueen for a Day Part II: The House of McQueen

It is impossible to understand Sarah Burton's designs without understanding that she is not reinventing the wheel but continuing and enriching an existing legacy. When Sarah stepped in as Creative Director of Alexander McQueen in 2010 she had big shoes to fill. That was probably the understatement of the century. She was taking over after the passing of a genius.

Lee Alexander McQueen

Lee Alexander McQueen’s reputation as the prodigy of bespoke English tailoring is not without merit. He started honing his skills as a young child making dresses for his older sisters. At the tender age of 16 McQueen left school to accept an apprenticeship at the famed Saville Row tailors Anderson and Shephard.  He quickly moved onto Gieves & Hawkes where McQueen had his first opportunity to work with the Royal Family. Here, he reportedly tailored a suit for Prince Charles (with a rumored message hidden in the lining to boot). Both companies are considered masters in technical English tailoring. Another move followed shortly when McQueen accepted a position at theatrical costumiers Angels and Bermans. It is here that he developed his skills as a tailor even further, perfecting his technique and mastering the skills of six different methods of pattern cutting from the 16^th century. I would suspect it is also here that McQueen developed his love for over the top theatrics and “fashion as art” aesthetic.

It was also at this time that Lee went back to school, obtaining his masters degree in fashion design at the Central Saint Martin’s School. At the age of 20 his graduation collection in 1992 was bought in entirety by famed stylist Isabella Blow.  Thus, the start of a life-long (though be it too short on both ends) friendship that literally shaped his career.  It was Isabella who inspired McQueen to start going by his middle name “Alexander,” when he launched his women’s wear line.

Isabella Blow

McQueen’s rise to fame was fast and furious.  By 1996 he was appointed as Creative Director of French Haute Couture house Givenchy (it is pronounced ji-vahn-she!) His heart was obviously not in the French house, actually telling Vogue in 1997 he thought his collection was “Crap.” (What I wouldn’t give to have my “crap” look like that.)  He longed to go back to England, and finally in 2001 when he announced his contract with Givenchy was “creatively constraining” he did.

Givenchy Spring 1997 Collection

By now Alexander McQueen had sold a 51% share of his take in his own company to the Gucci Group. He remained Creative Director and focused on expanding his kingdom. By 2005 the brand consisted of women’s wear, menswear, accessories, and even fragrances.  In 2006 the diffusion line McQ was also added to the roster. 

Before his untimely death on February 11, 2010 McQueen became the ruler of a fashion empire. He accomplished in less than 10 years what others never achieve their entire lives.  The list of Alexander’s accolades is extensive. He was voted British Designer of the year not once but four times in 1996, 1997, 2001, and 2003. 2003 was a huge year for McQueen. That year he was also voted International Designer of the Year by The Council of Fashion Designers of America and a Most Excellent Commander of The British Empire (CBE) by her Majesty the Queen. In 2001 he was GQ Menswear Designer of the Year.

McQueen: Most Excellent Commander of The British Empire

In that time Alexander McQueen also developed several loyal subjects.  It is not surprising that theatrically inclined Bjork and slightly dark and twisted personalities like Lady Gaga and Anna Paquin were fierce proponents of the brand. Sarah Jessica Parker was also a deeply loyal friend and advocate. 

Alexander McQueen and Bjork

Anna Paquin in Alexander McQueen
at the SAG Awards



Lady Gaga in Alexander McQueen

 The woman who would carry on his artistic vision, Sarah Burton, was also a close confidant.  To bring the wedding theme full circle, one of McQueen’s most famous designs is actually based on Sarah Burton’s own wedding dress.

Lace dress from McQueen's "Widows of Culloden" collection

Together with another of his close collaborators, Nick Knight, McQueen put on some of the world’s most entertaining shows that were about so much more than fashion.  They embodied history, vision, and pushed the boundaries of social propriety.  Through his extensive and purposeful use of out of the ordinary models (such as former Paralympian and double amputee Aimee Mullins) McQueen forced us to find beauty in the unexpected. Through his razor sharp tailoring and remarkable creativity and craftsmanship  he made us question the very shape of fashion as we know it. (Think of the controversial "bumster" from his early collections and the more recent "armadillo" shoe that at least 8 models have refused to wear.)

Aimee Mullins in Alexander McQueen- including custom designed prosthetics

Alexander McQueen "Bumster" trousers

Alexander McQueen "Armadillo" shoe

The Costume Institute at the Met will be opening an exhibit commemorating the life and accomplishments of Alexander McQueen on Wednesday, May 4, 2011. The retrospective offers a glimpse into the fantastical vision of arguably one of the most innovative and inspirational designers of our time.  If you can’t make it to New York, Style.com has a great sneak peak of the exhibit with comments by Tim Blanks.  In this interview with Vogue Sarah Burton gives her own commentary on a few key pieces in the exhibit. 

Pieces from The Met's Alexander McQueen: Savage Beauty Exhibition

McQueen for a Day Part I: The House of Windsor Meets the House of Burton

Kate Middleton's wedding gown designed by Sarah Burton for Alexander McQueen

All of the anticipation and debate was completely worth it.  The moment Kate Middleton’s amazing Alexander McQueen dress was revealed it was apparent she made an incredibly appropriate choice.  My choice of the word “appropriate” was completely intentional.  Her choice of design, as well as designer, was befitting the occasion on several levels. 

Let’s start with the design of the dress. The lace detailing and Queen Anne neckline are timeless. They echo that of another commoner turned Princess, Grace Kelly. The silhouette, however, is modern and architectural. Take a look at the bustle in the back.  Its sharp pleats are a contemporary twist on the billowy bustles of traditional wedding gowns. 

Sarah Burton after the Spring 2011 Alexander McQueen Runway show

Bustle detail of Kate's dress

Not to mention, it fits her like a glove! The dress is truly couture in every sense of the word.  This press release from the Official Royal Website explains the amount of work that went into the creation of Kate’s dress. Every detail, from the customized combination of flowers used to create the lace motifs, to the foam at her hips that gives the skirt (and her frame) that extra oomph was made by hand. Workers from the Royal School of Needlework in London washed their hands every thirty minutes as not to sully the white threads. They also changed the needles they worked with every three hours to ensure the tips were optimally sharp. The incredible amount of individualized detail made this dress uniquely Kate’s. At the same time these small nuances gave a subtle nod to the tradition and heritage of the entire Kingdom. Burton said of the dress “I hope that by marrying traditional fabrics and lacework, with a modern structure and design we have created a beautiful dress for Catherine on her wedding day.” And that she did. The dress may not be incredibly fashion forward, but it is perfectly understated, perfectly elegant, perfectly unique, and perfectly appropriate. 

The Duke and Duchess of Cambridge



While “appropriate” is usually the last word associated with the house of Alexander McQueen it is completely relevant to Kate's choice in designer. In the official press release it is stated that “Miss Middleton chose British brand Alexander McQueen for the beauty of its craftsmanship and its respect for traditional workmanship and the technical construction of clothing.” While Alexander started the house’s reputation as master of bespoke English tailoring, (more on this in Part II) Burton carries on the legacy with able hands.

a young Sarah Burton

   Like many other British fashion powerhouses (including McQueen himself) Sarah Burton attended Central St. Martins School where she studied print fashion.  In her third year at the school (1996) Burton became an intern at Alexander McQueen. She kept close ties with the fashion house and began full time work for the label after her graduation in 1997. She instantly became a personal assistant to McQueen, and by 2000 she was the head of womenswear. Being McQueen’s protégé did not come without challenges. Conquering these challenges took Sarah Burton’s talent to the next level, and prepared her to take over as Creative Director of the Alexander McQueen brand after his untimely death in 2010.

Sarah's delicate hand and exquisite tailoring honed under McQueen can be seen in the flawlessly fitted bridesmaid dress of Pippa Middleton. It is also visibly present in the reception dress the newly titled Duchess of Cambridge wore later in the day.  The angora sweater Kate pairs with the dress reflects Burton's affinity for ethereal textures and offers a distinct contrast to the clean lines of the heavy satin dress.  

Kate Middleton's reception dress

Pippa Middleton's bridesmaid dress by Sarah Burton

 If Pippa's dress looks familiar, that’s because you probably saw an earlier version of the dress in red on Cameron Diaz at the 2010 Golden Globe Awards.

Pippa Middleton                            Cameron Diaz

 Sarah Burton is no stranger to designing for royalty. In fact, it was a wedding dress she designed for Sara Buys that caught Kate's eye.  Sarah Buys is the fashion journalist wife of Tom Parker Bowles, the son of Prince Charles' wife Camilla, Duchess of Cornwall.

Sara Buys in her wedding dress designed by Sarah Burton

 Nor is Burton a stranger to having important political figures wear her creations.  Michelle Obama wore this red gown at the State Dinner in January 2011.

Michelle Obama in Alexander McQueen

Sarah is also not impervious to the rumor mill. She spent months dodging rumors that she was designing the dress for the Royal Wedding. We all know now that she is great at keeping secrets. Also this month Sarah's name has been dropped by several sources as a contender to replace John Galliano after his epic fallout as Creative Director of Christian Dior.  After all the publicity and the amazingly accomplished year Sarah Burton has had, I wouldn’t be surprised if she was a shoe-in for the position.  Whether or not she would take it is a different story.  Something tells me her heart is with McQueen.  After all, fashion critic Tim Blanks said “she isn't channeling the McQueen DNA, she is the McQueen DNA.”