I didn’t think I could love him more, but it happened.
This is beautiful. Not only in it’s vicious rejection of convention, but it’s fucking thrilling to watch. Too often am I bored with runway presentations, save for a small and select few. This is raw, and empowering and fun. Long Live Rick Owens.
ETA: The backlash that he didn’t use “real models” is so god damned stale. The movement and energy brought to this presentation showed off the garments just fine, maybe even better than an average runway model could. I don’t see the cons people can pull to having them shown off this way. I know it’s because: the steppers are not skinny, white, and moving in a way that you think is acceptable for a runway show. Move on.
The temporal relays of modernity were played out in Alexander McQueen’s Spring–Summer 1999 collection that explored the relationship between the 19th century Arts and Crafts movement and what he called ‘the hard edge of technology of textiles’. Segueing between pre-industrial craft imagery and post-industrial urban alienation, the collection combined moulded leather body corsets with frothy white lace, punched wooden fan skirts and Regency striped silk.
The show was opened by the athlete and model Aimee Mullins in a pair of hand-carved prosthetic legs designed by McQueen (the model was born without shin bones and had her legs amputated below the knee at age of one), and closed by Shalom Harlow who revolved like a music-box doll on a turntable as her white dress was sprayed acid green and black by two menacing industrial paint sprayers which suddenly came to life on the catwalk.
Alexander McQueen, No. 13, Spring–Summer 1999
Fashion at the Edge: Spectacle, Modernity and Deathliness by Caroline Evans, Yale University Press
Irving Penn joined American Vogue in 1943. He worked originally as a designer, but rapidly became one of the magazine’s most significant fashion photographers. Setting glamorous models in unexpected contexts, he evolved a style that was elegant yet informal, with simple lighting and minimal studio setting. The platinum-palladium print technique, perfected by Penn after years of meticulous experimentation, gives an unparalleled range of tone and texture to his images.