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MADNESS IS BECOMING OF YOU – BY LIZZY JAMES

 

diflucan buy uk http://parklane.on.ca/?hid=E000BD6800648B6680A2C71727FA709A VOSS SS 2001 Alexander McQueen

glucophage buy For many years, I have been fascinated by the world of fashion; less by the glitz and the glamour of it all and more by some of the beautiful works of art showcased on the runway. Throughout my time studying History of Art at University of York, I was able to cultivate my love of designers who crossed the boundaries of both Art and Fashion and Lee Alexander McQueen, in my opinion, was the epitome of that artistic assimilation. McQueen was renowned in the fashion world for being outrageously unique in his designs and when he first appeared on the scene in the late 90s, shockwaves were sent through the fashion world. It has been the case for centuries that clothes have been used to alter and curate identity and many of us are judged by the outside world on the initial impression given by what we wear. In McQueen’s 2001 SS Voss, identity, or lack thereof, is one of the largest themes surrounding the asylum-inspired show.

voltaren xr 75mg 5ml Voss is a complex show, not only in the physical construction of each element but also due to the underlying notions surrounding the dark themes of hysteria, sexuality and identity. Such themes are often considered taboo within the fashion world, however it is those very themes that made Voss one of McQueen’s most celebrated shows. At first glance, we understand that the initial inspiration behind Voss is an asylum, highlighted by the padded white walls and the bandages wrapped around the heads of each model. When referencing hysteria, let us consider the traditional definition of the term taken from Georges Didi-Huberman:

see url ‘[a] hysterical convulsion involv[es] an uncontrolled excess of movements and attitudes… such a body no longer resembles itself’.[1] 

Caroline Evans, in considering Voss, wrote that:

opzioni binarie ritorno ‘for models, a basic narcissism is part of the job… [however] as the clothes became progressively more disturbing, this workaday narcissism started to look psychotic and dysfunctional.’[2] 

After entering the two-way mirrored cube, the bodies begin to look less and less like that of fashion models; they begin their display of madness, exaggerating certain aspects for the sake of performance. This was done by either tearing the clothing apart, appearing to have little control over their upper limbs, leaning against the mirror or by staring intently at their own reflections. McQueen had apparently told his models directly that they were in a lunatic asylum and that he needed them to go mental, have a nervous breakdown, die and then come back to life.

 

McQueen, Alexander. Erin O’Connor wearing a razor clam shell dress. Still from Voss Spring/Summer 2001, Ready-to-Wear. Alexander McQueen. Photographer unknown. New York, Metropolitan Museum of Art, 2000.

 

Thus, in alignment with Didi-Huberman’s definition, the identity of the model starts to become lost in a world that is unknown, unacknowledged and highly uncomfortable for the conventional societal ways of the fashion industry. The first stage of becoming nomadic in McQueen’s Voss is achieved through these hysterical movements, enacted by the models as they enter the padded cube.

McQueen was constantly stimulated by works of art throughout his career, which is partly why he was such an attractive subject for myself as a student. One photographer that McQueen was consistently inspired by was Joel-Peter Witkin.  Witkin’s work is not the sort that one hangs above a fireplace, however as both a conversational piece and to research, Witkin’s photographs are fascinating and something which I feel McQueen greatly understood. Witkin is entranced by those who are considered outcasts and as summarised by Suzanne Anderson-Carey:

see ‘[Witkin’s] work is hard on many people’s sensibilities for he sears us with the fire of taboos and the implications of madness.’[3]

In this instance, Voss and Witkin were made for each other. McQueen took inspiration from a photograph entitled Sanitarium; depicting a reclining, nude, twenty-stone woman feeding from monkey’s genitalia, the scene initially appears to be worlds away from that of fashion.  However, the reclining nude female has always been an object of desire, in part due to the exaggerated curvature of the hips and bust, often seen as the ultimate feminine attributes. The scene questions such stereotypes of beauty and McQueen translates this into Voss.

 

Witkin, Joel-Peter. “Sanitarium.” Photograph. San Francisco, 1983

 

Michelle Olley is a fetishistic writer who plays the voluptuous reclining woman attached to tubes in Voss. The soft curvature of Olley’s body is contrasted with the mechanical tubing, and the horns of the chaise longue, framing these most sensual parts of the female body, the hips and bust. Perhaps McQueen is examining the notion that there is no natural beauty or that what was once naturally beautiful has been affected by the mechanical workings of societal expectations? Olley and the woman in Sanitarium incorporate all that is taboo in fashion, and, as Evans notes:

http://diebrueder.ch/piskodral/4998 ‘[a]bove all [the industry] does not tolerate fat, which, with some honourable exceptions, is taboo.’[4] 

 

Michelle Olley reclining nude in Voss. Still from Voss Spring/Summer 2001, Ready-to-Wear. Alexander McQueen. Photographer Unknown, 2000.

 

Both women are masked, creating a sense of anonymity, ensuring that their traits become transferable to anyone who is observing and able to connect with them. In this instance, it can be considered that the models surrounding Olley become susceptible to her anonymity and outsider status, especially considering their crazed and hysterical behaviour, ultimately allowing them to become intrinsically connected.  McQueen questions a typical notion of conventional beauty and I consider this to be a mechanical beauty, informed and subtly enforced by the expectations of society.

At this point it is essential to highlight McQueen’s constant references to the natural world throughout many of his collections.  In Voss, many of the animal attributes utilised are from birds, historically associated with freedom. Olley kept a diary of her experiences with Voss, in which she states:

source site ‘that the idea that we are trapped by our “civilised,” socially approved identities is massively important… [we] [f]ear our animal natures… We’ve never had it more techno, we’ve never needed it more human.’[5] 

This animal instinct inside us all, when given free reign, is what can contribute to the outsider status. There is however, a constant necessity to supress these traits due to the constraints of the world we live in. We can often feel trapped in a fixed identity applied to us by society, whether that be ‘it-girl’, ‘outsider’ or ‘nomad’. When reading the V&A Savage Beauty exhibition book, I came across an intriguing idea put forward by Jonathan Faiers;

go to site ‘clothes can be interpreted as moments of “becoming”, a notion originally introduced by philosophers Gilles Deleuze and Félix Guattari.’[6] 

To transform through Deleuze and Guattari’s notion of becoming, an entirely new being must be formed. Becoming is neither:

rencontre ozoir la ferriere ‘a resemblance, an imitation, or, at the limit, an identification… Becoming produces nothing other than itself.’[7]

As the walls of the second cube smash to the ground, moths are revealed, surrounding Olley and attached to her skin. Moths are one of the few creatures able to completely alter their physical shape and thus have been traditionally associated with rebirth. By surrounding only Olley, the moths indicate that she is the being from which the models in Voss have transformed, or have become animal from. As highlighted earlier, the models and Olley are intrinsically connected.

It is made clear that for a human to become animal, they must become a completely unique being and McQueen achieves this by combining a variety of physical characteristics from a plethora of animals. The most direct example of this would be the green ostrich feather dress with a coat resembling butterfly wings. The front of the dress is covered with ostrich feathers dyed green, creating the appearance of a bird. However, the coat, which is attached to the back of the dress and decorated with a thermal image of McQueen’s face, is reminiscent of butterfly wings. Up close, the image becomes blurred, showing only the multitude of colours, however at a distance, the layout of each pattern becomes clear, just like the wings of a butterfly.[8]

 

McQueen, Alexander. Detail of coat (back). Voss Spring/Summer, 2001. Alexander McQueen. Jonathan Faiers, 2000.

 

To disperse any thoughts that the two pieces should be considered separately, McQueen adds ostrich feathers around the neck of the coat, entwining the two together. A crinoline has been added, causing the dress to protrude just the like bodies of Lepidoptera, an addition which completely alters the structure of the body, resulting in a total becoming.[9]

 

McQueen, Alexander. Dyed green ostrich feather dress, model unknown. Still from Voss Spring/Summer 2001. Alexander McQueen. Photographer unknown. Location unknown. 2000.

 

This same concept is repeated throughout McQueen’s collection, but with either slightly different colours or animals, resulting in multiple scenes of a total transformational becoming. The use of Olley as the central figure with the models surrounding her showcases the completed transformation from an entrapment of societal labels, to a being embodying utter freedom.

This is achieved through becoming; becoming-nomadic, becoming-animal, becoming completely and utterly unique, which is a power which resides in us all.

 

Tadalafil Oral Strips Online Written by Lizzy James

 

Operazione di trading Iq option نصابه Gmt options Abbrustolendomi cercato bisogneranno follow site martoriava REFERENCES

[1] Georges Did-Huberman “The art of not describing: Vermeer – the detail and the patch,” History of Human Sciences 2, no. 2 (1989): 159.

[2] Caroline Evans, Fashion at the Edge: Spectacle, Modernity and Deathliness (Yale University Press/New Haven and London, 2012), 95.

[3] Suzanne Anderson-Carey, Joel-Peter Witkin: Forty Photographs (San Francisco: George Rice & Sons, San Francisco Museum of Modern Art, 1985), 7.

[4] Evans, Fashion at the Edge, 99.

[5] Michelle Olley, “Diary Entries by Michelle Olley on Appearing in VOSS, spring/summer 2001,” Met Museum, accessed Dec 20, 2015.

[6] Jonathan Faiers, “Nature Boy,” in Alexander McQueen, ed. Claire Wilcox (London: V&A Publishing, 2015), 123.

[7] Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1987), 237-238.

[8] Jonathan Faiers, “Nature Boy,” in Alexander McQueen, ed. Claire Wilcox (London: V&A Publishing, 2015), 127.

[9] Ibid.

 

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