LEE ALEXANDER MCQUEEN 1969-2010 Lee Alexander … · 8 Drapers February 20 2010 February 20 2010 Drapers 9 LEE ALEXANDER MCQUEEN 1969-2010 REX H ailed by many as fashion’s greatest

8 Drapers February 20 2010 February 20 2010 Drapers 9

LEE ALEXANDER MCQUEEN 1969-2010

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Hailed by many as fashion’s greatest rule breaker and the leading designer of his genera-tion, Alexander McQueen –

first name Lee – was seldom out of the fashion headlines.

With a legendary mix of design skills and pattern-cutting expertise, combined with an ability to pinpoint and shape the zeitgeist, McQueen was instru-mental in returning British fashion to the international stage with an edginess that had been largely absent since the glory days of the 1960s and 1970s.

Born in London’s East End, McQueen dropped his first name when his mentor, the late former journalist Isabella Blow, began calling him Alexander the Great.

Blow is largely credited with discov-ering McQueen, whose Central Saint Martins College graduation show may have passed under the radar were it not for Blow, who bought the whole lot for £5,000 and set about promoting McQueen to the fashion industry.

The son of a taxi driver and a school teacher, McQueen attended boys’ comprehensive Rokeby School in Newham, East London, and nurtured his aspirations to become a fashion designer by making dresses for his three sisters.

Leaving school at the age of 16, he landed an apprenticeship with Savile Row tailor Anderson & Sheppard before moving on to Gieves & Hawkes and then to theatrical costumier Angels. During his stint on Savile Row, McQueen’s clients included former Russian president Mikhail Gorbachev and the Prince of Wales. It was during his time there that the designer first

Lee AlexanderMcQueen1969-2010Hailed for his craftsmanship, innovation and ability to shape the sartorial zeitgeist, the shocking death of Alexander McQueen leaves the fashion world a poorer place. Drapers celebrates the life of a true original

Words Eve Oxberry

courted controversy, admitting that he once wrote the words “I am a c**t” in Biro into the sleeve lining of a suit he was creating for Prince Charles.

At 20, McQueen then moved on to work as a pattern cutter for Japanese designer Koji Tatsuno, before heading off to Milan where he was design assistant to Romeo Gigli, and was influ-enced by the Italian designer’s passion for loose draping dresses.

McQueen returned to London at 25 and applied to Central Saint Martins to be a pattern-cutting tutor. Instead, he was persuaded by the head of Masters to enrol for a Masters in fashion design, due to his exceptional talent.

It was on his graduation from Central Saint Martins that McQueen first hit the headlines for his ability to combine stunning design and crafts-manship with incredibly emotive show-manship. His sometimes dark shows earned him the nickname “the hooligan of British fashion”.

He gained notoriety with his buttock-skimming ‘bumster’ trousers, which were part of his Highland Rape show in autumn 1995, and continued to wow the industry with statement tailoring and a subversive yet patriotic style.

In 1996, McQueen, recognisable by his uniform of Dr Martens boots and cropped hair, received the first of his four British Designer of the Year awards from the British Fashion Council (BFC). Shortly afterwards, when it was announced that fellow British designer John Galliano was leaving Paris couture house Givenchy for Christian Dior, McQueen was asked to fill the gap.

The appointment, spearheaded by Bernard Arnault, chief executive of Givenchy’s parent group LVMH, caused a stir, not least when McQueen report-edly called founder Hubert de Givenchy “irrelevant” and slated his own debut collection for the label, telling US Vogue in October 1997: “I know it was crap.”

He subsequently toned down his collections for Givenchy and the two eventually parted ways in 2001, when the contract McQueen said was “constraining his creativity” was ended.

A pattern of successMcQueen himself departed London Fashion Week in the late 1990s, taking his British talent first to New York and then to Paris, and he later joined forces with Gucci, which bought 51% of his company in 2000. McQueen stayed on as creative director.

It was once again Blow who backed McQueen and initiated the Gucci deal. Blow reportedly planted the idea in the mind of then creative director Tom Ford during an industry dinner.

McQueen, who was awarded a CBE in 2003, recreated a dramatic medieval shipwreck scene in his spring 03 collec-tion, while for spring 05 a human chess game was played out with models in a Lewis Carroll-esque wonderland, injecting an element of the theatre and excitement for which he was famous.

In 2005 he walked out at the close of his spring 06 catwalk in a “We Love You Kate” slogan T-shirt to show support for his close friend and supermodel Kate Moss during her cocaine allegations.

McQueen was instrumental in returning British fashion to the international stage

Fond farewell: McQueen, seen here at his last show for spring 10, will be sorely missed



A year later, McQueen re-energised his label with the launch of a youthful, denim-based diffusion line called McQ Alexander McQueen, keeping up with the growing demand for demo-cratic fashion and the pressing need for luxury labels to diversify.

The collection was an immediate hit with independents and department stores alike, and gave fashion fans the opportunity to buy into McQueen’s coveted designs at a fraction of the cost.

The brand was developed further with a number of licensing deals, which included McQueen’s iconic ribcage suit-case design for Samsonite in 2007.

In the same year, McQueen’s world was rocked when Blow was found dead, after reportedly committing suicide.

McQueen paid tribute to her with his spring 08 show with a collection of fittingly ambitious head pieces and trademark wasp-waisted tailoring which re-engaged the world’s buying commu-nity after his autumn 07 collection had fallen slightly flat.

It was as late as 2008 that Gucci Group announced that the Alexander McQueen brand had turned a profit for the first time during the previous year. But sources say McQueen was never interested in the financial side of his label, concentrating solely on creativity. One story has McQueen throwing away hundreds of thousands of pounds worth of fabric just days before a show and ordering replacements at huge expense. “He was compromising on design,” says the source.

McQueen’s spring 10 collection, shown last October in Paris, showed he was back at the top of his game and that he was producing some of his finest work at the time of his tragic death. His wasp-waists were replaced by snake-hips, and the designer featured exotic reptile-skin prints on lamp shade, cap-sleeved mini dresses and billowing jumpsuits, embracing new digital printing technologies.

McQueen’s mother, Joyce, passed away on February 2 this year, leaving the designer devastated. In a serious of messages posted on Twitter, McQueen revealed that he was struggling to come to terms with her death.

McQueen was found dead, reportedly from suicide, at his London Mayfair home on February 11. That same day, he was due to show the autumn 10 collec-tion from his McQ label on the opening day of New York Fashion Week. The show was cancelled. l



Joseph ettedgui Founder, Joseph

Travelling together by coincidence to New York, I discovered that behind the beautiful [Alexander McQueen] creations we had stocked from the

beginning of [Lee’s] career, was a very kind and humble man. He was very determined to do what he wanted to do, rather than what fashion dictated. Already at the pinnacle of his career, he would always make the effort to come over and say hello if I was sitting in a restaurant. He came across as a very warm person but hid it behind what he showed to the public.

After his first Givenchy show, when the press clapped it was obvious he wasn’t there to impress. Although people criticised him because of his manner, his creations were such that people just had to like him and appre-ciate his talent. For those people who got to know him better, they had to love his uncompromising nature.

We used to buy his ready-to-wear collection as if it were couture. It was difficult to budget before buying – if you loved it, you had to buy it all. Commercially, his collections when put alongside the other brands could lift the whole store.

tamara salmandesigner, and former liberty of london creative director

My earliest encounters with Lee were when my partner Stephen Fuller had his design studio in Hoxton Square, in East London, and Lee had his

studios there too.

Lee was just starting out but it was like having this genius child in the area. He was just lovely; popping out to walk his dog, just a normal, quiet, shy person. We would always nod hellos and exchange pleasantries.

Isabella Blow was helping Stephen and she used to pop by and relate the various things that were going on in Lee’s studio; it all sounded very full on and amazing.

Normally there is an element of competition among designers, but Lee was kind of untouchable, even that early on. No matter how famous he got he never compromised. He never gave in to any pressures to be more commer-cial. Somehow he managed to retain his genius design, and what would seem unwearable pieces of art would actually be worn and copied the world over. He always stayed at the forefront and was always cutting edge – with no compro-mise. Stephen would always say to me when I designed something, ‘would McQueen have done that?’ It always made me think.

Having someone like him out there was having something high to aim for and set your standards by. [His death] is heart-breaking and a massive loss.

Bridget CosgraveFashion and buying director, designer indie matches

He never failed to impress me from the very first time I met him, when he produced from a paper carrier bag the most spectacular theatre

coat, which was so otherworldly and incredible, demonstrating how multi-faceted his talent was. It went beyond the realms of fashion. Just last week in

Milan I remarked to my assistant “this guy is a genius”. It’s the tragic loss of a remarkable talent and he will be truly missed.

Kim BlaKeConsultant and former pr for alexander mcQueen

The first few shows were done on a shoestring, we had no security and I remember standing on an upturned bucket to see past the people. We

didn’t anticipate the crowds. Lee was incredibly inspirational. It was a special time, the energy was crackling around. He had a great sense of humour and everything was at top speed.

The Birds show [based on Alfred Hitchcock’s film The Birds] was a turning point. When I came out of the show my phone didn’t stop ringing. One of the editors tracked me down at home and was crying because it was so amazing.

We once took Suzy Menkes [fashion editor of the International Herald Tribune] over to one of the studios in the back end of beyond and I had to call Lee to ask him in advance to make sure there was tea and coffee. When we got there we had tea and coffee but she asked for water and we didn’t have a glass to put it in. Suzy Menkes was the one who got his talent.

During the time I worked with him, he never got carried away by the recognition and fame. Those were the early days. He was very generous of spirit and very close to his family, espe-cially his mum and aunt. His family always had to have the prime seats at the shows and we couldn’t start the shows until they arrived.

Compiled by Ana Santi & Amy Shields

Uncompromising maybe, but also kind, humble and shy. Friends and colleagues of Lee Alexander McQueen recount their first impressions of the designer

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Defining moments: McQueen (pictured here in 2006) never failed to make an impression

Colleen sherinFashion director, saks Fifth avenue

The first time I met Lee McQueen was in 1996, very early on in both of our careers. He staged a show in New York at the Angel Orensanz Center

on the Lower East Side, at an old synagogue. I went backstage after the show, introduced myself and congratu-lated him.

I was a bit awestruck and then he was so humble, a little shy, and maybe a bit uncomfortable with praise, the kind of guy you’d like to drink beer with. I think I sort of fell in love with him from that moment on. We picked up his collec-tion shortly thereafter.

In September 1998, we did a major British promotion/party in New York – McQueen was one of our key players and attended the party. We weren’t sure until the very last minute if he’d make it, but he did.

His shows in London in the early days, and later in Paris, are among the most memorable moments of my career thus far.

I really can’t believe that he’s gone. Words cannot adequately express the sorrow that we all feel.

sarah Walterhead of fashion communications, river island, and former fashion editor of Harper’s Bazaar

I went to Lee’s second show when I was fashion editor of Harper’s Bazaar and I took a feather headdress and leather bodice [from the collec-

tion] to Africa to photograph them. When I met him he was awkward and shy and his reputation as an extraordi-nary talent preceded him. He saw women as strong and exaggerated and that really appealed to me. His shows were breathtaking and they will be for years to come.

amy molyneauxdesigner, ppQ

Lee and I once got lost in Shoreditch House – we both had Puffa jackets on and were looking for the same thing: the toilets. He was very

funny. My favourite show of his was spring 09.


Drapers trawls its archive of back issues to bring you a complete retrospective on the Alexander McQueen womenswear catwalk collections, from spring 94 at London Fashion Week through to his final spring 10 show in Paris

Drapers, October 30, 1993 In his second season and for his debut catwalk show at London Fashion Week, McQueen produced his first complete collection. Models were airbrushed and clothes paint-splattered in an attempt to bring the Paris underworld to London. Apart from the occasional 1970s suit in a two-tone diamond print and high-collared shirts in masculine check, the rest was not worth the hour wait.

Drapers, March 5, 1994 McQueen married together the elements of slick tailoring and raw-edged construction for a dramatic finish to the London runways. Three-quarter length trousers and slim jackets were neatly cut and trousers were a mix of suiting and metallic florals.

Drapers, October 22, 1994 Tough and uncompromising, McQueen left little to the imagination in a collection of aggressive plastic and latex dresses with roughly cut necklines and indiscriminate baggy folds of fabric. Utilising a strict palette of white, black, orange and red, naive tyre prints and swarms of swallows emblazoned harsh jackets with American footballer shoulders.


Drapers, March 25, 1995 Pale models were sent down the catwalk by McQueen in shredded lace dresses, low slung ‘bumster’ trousers, skirting fashioned from heavily riveted vinyl floor covering and jackets cut with horseshoe necklines to reveal sections of cleavage, or with stove pipe collars and pointed shoulders.

Lee Alexander McQueen born to Ronald and Joyce McQueen in Stepney, East London

1969

McQueen learns his trade at Savile Row tailor Anderson & Sheppard

1986

A history...

spring 94 Autumn 94 spring 95 Autumn 95

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Drapers, November 4, 1995 McQueen matured with this wearable collection of sharp tailoring, opulent fabrics and easier shapes. With the collection manufactured by MA Commerciale in Milan, the cut and finish was suitably beautiful. With the severity tempered and the shapes more commercial, McQueen truly relaunched himself in an extraordinary fashion.

Drapers, October 5, 1996 The key trends for spring 97 at London Fashion Week were directional but commercial, and perhaps the most definitive moment came, unsurprisingly, from McQueen. Once again he led the way in terms of innovation, but in between the showpieces, he slipped several simply cut, black, bronze and brocade V-neck dresses.

Drapers, March 9, 1996 McQueen displayed a supreme understanding of cut, through insetting zig-zagged sheer fabric into grey suiting, applying matelot plackets to knitwear and suiting, and mixing lace, rich paisley and delicate devorés, with severe angular cutting. A grey pinstripe jacket with diagonal button front and hidden lapels and buttoned down turn-ups was the standout look.

1992

Fashion icon Isabella Blow buys McQueen’s entire graduate collection for £5,000

1995

Launches ‘bumster’ low-slung trousers during his controversial Highland Rape catwalk show

1996

McQueen replaces John Galliano as head designer at Givenchy

Styles the iconic cover for Bjork’s Homogenic album

1997

spring 96 Autumn 96 spring 97

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Drapers, March 8, 1997 McQueen conjured up a ghostly Victoriana, and a mythical Narnia, as models walked the catwalk as gothic fawns with horns projecting from their foreheads. Fur was key and peg-leg trousers saw the designer reference his tailoring roots. A sense of the dark underworld swept onto the catwalk in the form of haunting and ethereal dresses with jagged hemlines.

Autumn 97


A history...

Gucci Group acquires 51% of the Alexander McQueen business

2000

On meeting the Queen to collect his CBE, McQueen says it is like “when you see someone across the room on a dancefloor and you think ‘woah!’”

2003 2005

Launches diffusion line McQ for spring 06

McQueen spray-paints a white dress at the end of his spring 99 show

1998

Drapers, October 11, 1997McQueen showed his most self-assured, mature and commercial collection to date, which centred on signature sharp tailoring, bandeau dresses and beaded eveningwear. The ‘enfant terrible’ showed that while he may have grown up, he had lost none of his edge.

spring 98Drapers, March 7, 1998This Joan of Arc-inspired show was a welcome consolidation from the designer, with the added bonus that all the trademark McQueen techniques (slashed fabrics with brightly coloured linings, angular jackets with drape fronts, and cropped, low-cut trousers) were no longer costume but real, wearable fashion.

Autumn 98Drapers, October 3, 1998McQueen saved the international reputation of London Fashion Week with an excellent collection. He offered woven raw-edged straw waistcoats and swinging, punched- out floral white skirts. Other highlights included sparkling mermaid fishnet dresses and sharp tailored angular morning coats with slashed flowing tails.

spring 99Drapers, March 6, 1999A winter wonderland was the setting for this collection, which featured exquisite cut-out doily-style skirts, cleverly cut fur-trimmed coats and quilted coats in a palette dominated by whites and creams offset with a touch of black and grey. This was a collection all about fabrications and textures, with patchworking, felted wools and real fur throughout.

Autumn 99


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2007/8

The Alexander McQueen label turns a profit for the first time

Lady Gaga sports McQueen’s 10-inch heels in her Bad Romance video

2009

The fashion industry mourns the death of a legend

20102006

Shows Kate Moss hologram on his autumn 06 catwalk at the time of her cocaine scandal

Drapers, October 7, 1999Trousers were slashed and cropped to within an inch of their lives by the master tailor who styled them with various cropped tops. A cerise slinky jersey halterneck dress that was slashed to the navel stood out in what was otherwise a monochrome palette for spring 00, and looked like a commercial winner for the season.

spring 00Drapers, February 26, 2000This slick collection in soft cream and chocolate brown included ballooning cape-backed leather dresses and cream coat jackets with flared skirts. A jersey top was tied at the neck and worn with a checked cream and brown skirt and prints were slashed into strips. Key pieces included a sharply tailored coat jacket with wide lapels.

Autumn 00Drapers, March 3, 2001Beautifully tailored jackets with exaggerated lapels wrapped the body, long military-style frock coats nipped in at the waist and swept the floor with full skirts. Punched-out leather skirts, exaggerated leather knickerbockers and draping sashes made for a dramatic collection. A fantastic peacock feathered dress was a favourite.

Autumn 01Drapers, October 7, 2000With its sharply tailored jackets, full-feather skirts, corset dresses and elaborate floral decoration, this collection struck a fine balance between show-stopping and commercial pieces. Cascading ruffles draped from shoulders and wound around the body and waists were accentuated by feminine cuts. The overall effect was of faded luxury.

spring 01


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Drapers, October 20, 2001McQueen pillaged Spain’s bull-fighting heritage for his first collection under Gucci’s aegis, with ruffles, pleats and polka dots. Corsets and waistcoats gave a strict outline to softer shirting and ruffled edges. The template of the matador’s narrow trousers and cropped jacket was shown against ruffled flamenco dresses slashed across the body.

Drapers, October 19, 2002McQueen wowed Paris with his masterly display of shipwrecked castaways. Fluid nude chiffon dresses, distressed military jackets and romantic pirate boots opened the show. The civilising structures of missionaries came next with sharp Gothic leather, lace and chiffon. A riot of colour exploded for a finale of tie-dye and feather print frocks.

Drapers, March 23, 2002A collection designed around malevolent fairy tales and sexually subversive schoolgirls, McQueen balanced sinister with saccharine for a wearable and desirable mix. Milkmaid blouses frothed from bosoms and chiffon spilled from the décolletage of a leather dress. Mummified dresses were bound and bandaged around the body.

Drapers, March 22, 2003Here, the main themes referenced the Far East. Nipped-in-waist dirndl or knife-pleat A-line skirts and neat skin jackets were fit for Tibetan princesses. Contrasting checks of black and white on tight mini-skirt dresses had full-volume top halves. Tight white leather catsuits with red sunray details splitting out over the legs and chests were also on offer.

McQueen pillaged Spain’s bull-fighting heritage for his first collection under Gucci’s aegis. Corsets and waistcoats

gave a strict outline to softer shirting and ruffled edgesSpring 02 report, Drapers, October 20, 2001

Spring 02 autuMn 02 Spring 03 autuMn 03


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Drapers, October 25, 2003A show in homage to the 1969 Jane Fonda Depression-era film They Shoot Horses, Don’t They?, a silver sequin gown set the tone followed by a peach satin dress trimmed with marabou. Sportswear-inspired pieces came in acid colours, while the final scene showcased models in patchwork fluted-hem skirts and jackets and floral chiffon dresses.

Drapers, October 23, 2004Models donned Edwardian attire inspired by the 1975 Australian film Picnic at Hanging Rock, and motocross jumpsuits, American football-style outfits, moulded rubber dresses and mini swirling dresses all appeared. Favourites included a lavish Japanese-inspired jacket cinched at the waist with an obi belt, and brocade jackets.

Drapers, March 20, 2004A subdued outing, the natural tweedy palette was lifted only by the glamorous silk-print wrap dresses. Opting for the prevalent lady-like look, McQueen’s version had a distinctly modern aesthetic. An all-in-one culotte suit and a shawl topped an all-in-one pair of flares, and a high, tie-necked jacket were all neatly tailored.

A show that was in homage to the 1969 Jane Fonda Depression-era film They Shoot Horses, Don’t They?, a silver sequin gown set

the tone followed by a peach satin dress trimmed with marabou Spring 04 report, Drapers, October 25, 2003

Spring 04 autuMn 04 Spring 05


Drapers, March 19, 2005McQueen mixed 1950s sweater sirens, biker babes and good girl secretaries. Mohair-belted sweater dresses teetered towards scandalous with low-scoop backs, while black leathers and striped Breton tops got the beatnik look. Evening gowns moved from a green prom girl flounced skirt dress to wasp-waisted sculpted gowns.

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Drapers, October 22, 2005 Wrangling with his interpretation of powerful women, McQueen sent a tuxedo-inspired mini dress and dominatrix-inspired leather wardrobe down the runway before unleashing an army of Grecian warrior-goddesses. Draped ultra-mini dresses were cinched with giant belts and breasts were adorned with Boudicca-style decorations.

Drapers, October 14, 2006 Sharp tailoring and romantic couture-like dresses won over Paris. Historical references came from Edwardian ruffles, nipped-in jackets and pre-French Revolutionary extravagance on corseted bodices and padded hips. Amid the tulle layers and billowing blooms, trousers sat low with mannish front pleats or cropped just below the knee with a high waist.

Drapers, March 18, 2006 Mixing The Prime of Miss Jean Brodie with a Highland fling, McQueen excelled with prim yet commercial tailoring. Eschewing trousers for skirt suits, rich tweeds and ruff Elizabethan collars sat alongside luscious satins. Classic plaid buoyed the heritage fabrics trend on empire-line dresses. Either feathers or tulle ruffles served to make up the eveningwear entirely.

Drapers, March 17, 2007 With structured silhouettes the inspiration, designs veered towards the architectural. Coats in quilted duchesse satin had exaggerated funnel necks and strict trapeze-line shapes. Egg-shaped knitted dresses sat around the body, while bandaged mini dresses had hourglass silhouettes. Embroidered velvet clung to the models like a second skin for eveningwear.

Sharp tailoring and romantic couture-like dresses won over Paris. Historical references came from Edwardian ruffles and

pre-French Revolutionary extravagance on corseted bodicesSpring 07 report, Drapers, October 14, 2006

spring 06 autumn 06 spring 07 autumn 07

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Drapers, October 13, 2007 McQueen mixed flowing fabrics with extravagant sculptured shapes. Key pieces included a floor-length skirt, which was worn over a pannier-inspired wool jacket. Silhouettes focused on sharp angles and structured layering while oversized belts created a cartoonish version of the hourglass silhouette.

Drapers, October 11, 2008 McQueen showed a range of super-short dresses with exaggerated hips while abstract kaleidoscopic and animal prints were used on skinny trouser suits and mini dresses. An asymmetric dress made of swagged silk embroidery threads gave a new twist to fringing, and dramatically nipped-in leather corsets sat atop silken cropped harem pants.

Drapers, March 4, 2008 Beyond the ballet, this show veered from gothic rock chick to colonial military and regal and couture-inspired gowns. Dresses were given exaggerated proportions, with giant skirts in multitudinous ruffles overlaid with snowflake and forest patterns. Netting added an extra dimension to skirts, while satin and gold lamé gave a luxury feel. The palette comprised black, white, blue, scarlet and gold.

Prints veered from houndstooth checks, which migrated into diving swallows on ballooning evening gowns,

to entwined snakeskins paired with silver discsAutumn 09 report, Drapers, March 21, 2009

spring 08 autumn 08 spring 09Drapers, March 21, 2009 Identikit faces with inflated lips took to the catwalk for this flamboyant collection. Prints veered from houndstooth checks, which migrated into diving swallows on ballooning evening gowns, to entwined snakeskins paired with silver discs. Shapes were pulled, swagged and set into bubbles, fishtails and cocoons in a red, orange and monochrome palette.

autumn 09

20 Drapers February 20 2010

Drapers, October 17, 2009 Digitally enhanced amphibian prints, ocean-hued marble effects and rubber panelling created an underwater dystopia at Paris Fashion Week. Moulded shoes and structured mini dresses made for a dramatic and exciting collection. McQueen at his best.

Digitally enhanced amphibian prints, ocean-hued marble effects and rubber panelling created

an underwater dystopia. McQueen at his bestSpring 10 report, Drapers, October 17, 2009

SPRING 10


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Much has been made in recent days of the graffiti that Alex-ander McQueen wrote on the inside of a jacket he was

making for the Prince of Wales when he was a Savile Row apprentice. It showed his naturally rebellious, often subver-sive nature, say commentators.

But while this act might have been an example of his character, the fact that he was a coat maker at all has greater weight than many seem to acknowl-edge. It was while on Savile Row, firstly at Anderson & Sheppard and then later at Gieves & Hawkes, that McQueen learnt many of the technical skills that helped make him a great designer.

Unlike many of his contemporaries, McQueen could sew. He knew how to construct a jacket – how the insides work, what the cloth does and how it works with the body. He carried this knowledge with him throughout his career and it showed itself in much of his womenswear and, more obviously, underpinned all of his menswear.

It meant that he created some iconic menswear pieces that he could re-inter-pret and develop season on season. It meant that even in extremis his clothes fitted and were very wearable.

Anderson & Sheppard head stylist Karl Matthews, who did the same apprenticeship as McQueen, explains: “You build up an awareness of how something is made. When you work here, you might have to do it the same way over and over again but you begin to understand how things can be done differently – we put a sleeve in a certain

Lee Alexander McQueen knew how to cut a mean suit to flatter the male body – his influence

on menswear was as keen as on womenswear

Words Chris Scott Gray

way but you also see what will happen when you change that. The thing is, you learn. You acquire a set of skills and everything you do is of the highest order. That never leaves you.”

Tailoring was central to McQueen’s recent catwalks, featuring his signature tailoring block which with its high shoulder and lean silhouette, a style that is both distinctive and well-fitting.

David Walker-Smith, buying director for menswear and beauty at depart-ment store Selfridges, is particularly enthusiastic about the McQueen suit. “It’s our best-selling suit in our Super-brands department,” he says. “It is instantly recognisable. It has what we call the McQueen shoulder – it is squarer and stands higher than most – and is a fabulous fit.”

Creative canvasMcQueen had obviously put the time and effort in to get the jacket on his trademark suit right and it became a constant in his collection. But more importantly, he had created a base onto which to layer his creativity.

And here is the nub of McQueen’s menswear: he worked with very classic shapes and styles, using them as an artist would a blank canvas onto which he could then add his creativity. Whether it was jackets smudged and daubed with paint (arriving in-store now) or suits covered with an all-over bone print (as shown in Milan last week), the clothes stood out for the way they were treated – the tailoring foun-dation remained the same.

And so it is elsewhere in his collec-tions. Walker-Smith highlights other iconic styles that are simple but ready for the same treatment, most notably the “Brad Pitt” shirt, as McQueen named it. As a shirt, it is in many ways unremarkable until you put it on – very short-sleeved, fitted and with a hint of elastane in the cloth, it has been designed for the body conscious – but on wearing it the fit and the comfort turn it into something quite remarkable.

And this, perhaps, points us towards McQueen’s menswear legacy. Much has been made of the macabre nature of his designs – the skulls, the bones and the Victoriana of recent seasons – but really this is catwalk dressing, story telling to emphasise a theme and to promote a print or palette. Where McQueen was particularly influential on menswear was the way he has refo-cused attention on the body. He under-stood how fabric and the human form work together. His shapes made us aware of our bodies and, hopefully, emphasised the best bits while hiding the rest.

He may have given us bumster trou-sers, paraded models in see-through plastic or sent them down the catwalk with huge codpieces, but as McQueen matured so his attention shifted. He created unique, innovative fashion that flattered the wearer, which is important whether you are the heir to the throne, a rock star or anybody else who bought Alexander McQueen’s menswear. l

Leading man



Men of the cloth: Alexander McQueen menswear from (clockwise from top left) autumn 10; autumn 10; spring 09; spring 09; autumn 10; spring 08; spring 10; autumn 09


Stockists of Alexander McQueen look back at some of the designer’s most iconic pieces and collections

Iconic pieces

Colleen SherinFashion director,Saks Fifth Avenue“Each of his collections had such beautiful pieces.

One of our best-selling groups was the brightly coloured birds of paradise feather print in flowing chiffon dresses in spring 08.

“Personally, I own several pieces that I cherish; namely, a burgundy velvet draped cocktail dress with a crystal belt, a sexy black lace skirt with a gold double zipper in the back, which was piped in black leather, and a pair of perfectly cut grey pinstripe trousers.”

Bridget Cosgrave Fashion and buying director, Matches“If you think of Alexander McQueen it’s usually

a jacket or a dress – his dogtooth jacket from autumn 09 in particular stands out. And the trousers from his first-ever collection stood out – the infamous ‘bumster’ trousers, which are still on trend today. Personally, I own several [of his] pieces, some beautiful embroidered dresses, knitwear and jewellery.”

Anne Pitcher Merchandising and buying director, Selfridges“It would be simplistic

to just name one particular piece from a particular collection or season. The beauty and outstanding power of McQueen’s work is that it came from a true designer – not just, as it is too often the case in the fashion world, a talented stylist.

“Being a true designer is being 100% original and mould-breaking. McQueen was exactly that, every time. You never really knew what journey he’d take you on and you still loved every minute of it.

“So of course you can speak of the scarves and the bumsters for

Words Ana Santi & Amy Shields

instance, but they won’t give you the full understanding of the essence of McQueen.

“For me, the essence of his fashion is in the perfect tailoring and impeccable fit of the dresses and suits he created, the strong narrative prints and the colours he used constantly and boldly. It is also the pure enjoyment he took in challenging the very framework of fashion.”

Marigay McKee Fashion and beauty director, Harrods“My favourite McQueen creations are his skull

clutches and scarves, which fuse contemporary edginess and ladylike chic. His sculptured dresses are also an art form.”

Singled out: (clockwise from top) a bird of paradise design from spring 08; bold prints for spring 09; a sculptured dress from spring 07; a dogtooth coat from autumn 09

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Fashion and beauty director, Harrods“My favourite McQueen creations are his skull

clutches and scarves, which fuse contemporary edginess and ladylike chic. His sculptured dresses are

Singled out: (clockwise from top) a bird of paradise design from spring 08; bold prints for spring 09;

also an art form.”

McQueen: in his own wordsLee Alexander McQueen was almost as famous for speaking his mind as he was for his designs. Here is a selection of his best quotes

On selling a majority stake in his label to Gucci Group“If you want to play with the big boys, you have to act like them.”

On his role at Givenchy“When the collections leave my hands, they go into the hands of other people and then whatever I have done on the catwalks is dismissed. It just gets completely taken away. I’ve tried every means possible, but you know the expression: ‘Too many cooks...’”

On rumours of a rift with friend and muse Isabella Blow“It’s so much bollocks. These people just don’t know what they’re talking about. They don’t know me. They don’t know my relationship with Isabella. It’s complete bullshit. People can talk; you can ask her sisters... That part of the industry, they should stay away from my life, or mine and Isabella’s life. What I had with Isabella was completely dissociated from fashion, beyond fashion.”

On his influences“I never look at other people’s work. My mind has to be completely focused on my own illusions.”

On taking inspiration from designer Azzedine Alaïa“I wanted to bring sexy back. It’s what is missing right now. And Alaïa was sexy for me. It was classy sex. I have so much respect for him and I don’t even think he will mind.”

Tweeting after his mother’s death“RIP mum xxxxxxxxxxxxxxxxxxxxxxxx; friends have been great; now I have to somehow pull myself together.”

On being awarded a CBE“It’s a great privilege to receive this honour. I now formally urge the British Government to match this recognition by investing in manufacturing and new talent – the foundation of British fashion.”

On British fashion“British fashion is self-confident and fearless. It refuses to bow to commerce, thus generating a constant flow of new ideas while drawing on British heritage.”

On his duty“I don’t have a moral duty. It’s not about pleasing everyone else.”

On his inspiration“I suppose I’m drawn to things that look beautiful or conventional on the outside, but there might be something very dark going on inside.”

On his catwalk shows“My shows are a form of entertainment more than anyone else’s. It’s not just a commercial platform, it keeps me interested in fashion, it motivates me to see an illusion in my head and then see the actual thing live. It’s a progression in my mind and the evolution of what I believe is fashion.”

On his obsession with fashion“My first memory of design is living in a council house with my brothers and sisters and drawing a dress on a peeled wall. It’s my earliest memory of a sketch.”

On style“Fashion is what happens in the selling room and style is what occurs on the catwalk. But style is the way in which you have to move things forward.”

On mortality“It is important to look at death because it is a part of life. It is a sad thing, melancholy but romantic at the same time. It is the end of a cycle – everything has to end. The cycle of life is positive because it gives room for new things.”

On love“The most exciting thing I’ve ever stolen is someone’s heart.”

On his legacy“I’m 40 now, but I want this to be a company that lives way beyond me, and I believe that customers are more important to making that happen than press. When I’m dead, hopefully this house will still be going. On a spaceship. Hopping up and down above earth.”The entertainer: McQueen at his autumn 98 catwalk for Givenchy

It doesn’t make sense to play it safe in these times. We need fantasy not realityLee Alexander McQueen on taking risks

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February 20 2010 Drapers 25


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YOUR SAY


Sir Paul Smith Designer “I am extremely shocked at this sad news. I have known Lee since his time at Central Saint Martins and gave him advice in the early part of his career. He was a very talented and creative designer, especially in respect of his tailored clothing. This is a very sad time and my thoughts are with his family.”

Sir Stuart RoseExecutive chairman, Marks & Spencer, and former chairman of the British Fashion Council“I don’t know what to say. It’s very sad and a tragic loss. He was a huge talent and my condolences go out to his family and friends. It’s a reminder of the fragility of life.”

Harold Tillman Chairman, British Fashion Council“We are deeply saddened at the news of Alexander McQueen’s untimely death. He was a unique talent and one of the world’s greatest designers. Our thoughts are with his friends and family at this sad time.”

Joseph WanChief executive, Harvey Nichols“It’s very sad news. I feel a sad loss of talent. He was clearly a very talented man and created a lot of success in the industry.”

Joan BursteinOwner, designer indie Browns in London“It is a great loss, having been with us since the beginning, I am extremely sad to hear this news. We will mourn the loss of him and his growing talent.”

Tom ChapmanOwner, designer indie Matches in London“Lee was one of the greatest talents of our age, he broke boundaries, entranced the fashion world and, from the outset, as a teenage Savile Row apprentice, recognised the impactful, intelligent statements that fashion can make. Everything he created, everything about him, was unique, brilliant and utterly inspirational. His tragic and untimely death is a devastating loss to the industry, leaving a terrible void. No one will ever be able to

replace him – Britain has lost one of its most iconic ambassadors. ”

Jane Shepherdson Chief executive, Whistles“I’m really shocked and it’s a terrible loss. He’s completely irreplaceable and one of the real greats. He was an original, unique voice in fashion.”

Derek Lovelock Chairman, Aurora Fashions“McQueen was arguably the most talented, pioneering designer of our generation. He always pushed boundaries with his creativity, delivering artistic and sensational collections and shows that inspired the world. He also mentored, supported and encouraged young British designers. His creative calibre was unrivalled.”

Statement from The British Menswear Guild“The guild is saddened by the tragic loss of one of Britain’s most talented and controversial designers. His creations were not for everyone but they always had something to say. Our thoughts and condolences are with the family.”

Parade of talent: Alexander McQueen’s autumn 08 menswear show in Milan

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YOUR SAY


Karl Matthews Head stylist, Savile Row tailor Anderson & Sheppard “McQueen was a tremendous ambassador for tailoring. His name still resonates through Savile Row and will continue to do so. He created such an awareness for the industry and his rise to fame gave it increased notoriety. Many people wanted to follow in his footsteps.”

Mark Bage Owner, premium indie Sarah Coggles in York“I’ve followed his business from the beginning and we’ve really seen the brand grow. On a personal level, I feel I’ve grown up with him too. There is so much British talent in the fashion industry that we normally wouldn’t really miss the skills of just one designer, but McQueen was a rarefi ed talent. He was the leader of the next generation of designers. The previous generation had the likes of [Vivienne] Westwood to look up to and aspire to and McQueen really fi lled that role for the next generation. His death leaves young designers leaderless.”

Industry hails ‘irreplaceable’ McQueenAdmirers from across the fashion industry pay tribute to the pioneering designer who did so much for British fashion, from raising the profile of Savile Row to championing young talent

Julia CarrickChief executive, British luxury trade body Walpole“It’s a hugely tragic loss and a blow not only to the British luxury industry but to the international fashion industry as a whole because he was such a huge success overseas. He was such a visionary and I think what particularly stood out was his amazing versatility – he dressed everyone from Lady Gaga to Prince Charles. We were planning to award him the Walpole Medal of Excellence this year.”

Antony Hawman Brand partnership manager, My-Wardrobe“At Alexander McQueen’s autumn

2003 show in Paris, I remember being pulled through the press who were congregating around the backstage area and they were shouting and

screaming at me, as they wanted to get backstage and weren’t allowed. I was there to wish the design team good luck and I wasn’t sure what on earth was going on and why such a fuss was being made about a fashion show. But then, once

the show started, it all became clear and my true love aff air with fashion started. I

remember being totally overwhelmed by the whole production – it was such a spectacle.”

A cut above: McQueen was a “tremendous ambassador” for tailoring and Savile Row

Versatile: McQueen designed for Prince Charles and Lady Gaga (below) among others


Documents

LEE ALEXANDER MCQUEEN 1969-2010 Lee Alexander … · 8 Drapers February 20 2010 February 20 2010 Drapers 9 LEE ALEXANDER MCQUEEN 1969-2010 REX H ailed by many as fashion’s greatest