Analysis Of Alexander Mcqueen's Voss

McQueen was known for his lavish, unconventional runway shows. McQueen has been credited with bringing drama and extravagance to the catwalk. He used new technology and innovation to add a different twist to his shows and often shocked and surprised audiences. The silhouettes that he created have been credited for adding a sense of fantasy and rebellion to fashion.
“VOSS” SPRING/SUMMER 2001
THEATRE IN FASHION
‘Voss’ stands out in the array of Mcqueen’s unconventional runway shows. It is also known as the ‘Assylum show’. It was staged inside a vast two-way mirrored box. The designer started show deliberately late by two hours and made the audiences stare at themselves for the whole time in those gigantic mirrors. The people who were there to rather see and evaluate and later criticize the collection were made to look at each other and evaluate themselves making them uncomfortable to the core. The audience who were elites of the fashion industry and fashion critics were forced to turn their own sharp scrutiny of the models back on themselves, highlighting how much the model, as well as the clothes, are objectified in the gaze of the critics and general public.
The show started with the glass box being lit from the inside and models who could not see the audience pacing inside the glass box. The cube itself
As it had been for artists and writers of the Romantic Movement, the lure of the exotic was a central theme in McQueen’s collections. His exoticism was wide-ranging. Africa, China, India and Turkey were all places that sparked his imagination. Japan was particularly significant, both thematically and stylistically. The kimono, especially, was a garment that the designer endlessly reconfigured in his collections. The collection featured a number of exoticised garments, including a coat and a dress appliquéd with roundels in the shape of