From victimization to femme fatale, Evans(2004) notes the progression of “prey” to a more powerful image of “predator”. Evans(2004) examines the differences between the 1890’s Femme Fatale and McQueen’s representation in his Dante collection1996.
A key point made by Evans(2004) in terms of fin-de-siècle femme fatale is “the woman whose sexuality was dangerous even deathly, and whose terrifying allure would tinge the male desire with dread”
100 years later, Alexander McQueen’s femme fatale was similar style wise and referenced the image of the vamp with “pale flesh and berry coloured lips” (Evans 2004) and the mouth watering palette of black, beige and mauve. However, McQueen created a frightening subject who was no longer a seductress to be feared, but rather a terrifying predator
Along with Alexander McQueen, Hussein Chalayan is also one of the most influential and popular designers. Both, used design as an outlet of expression of concepts and allegories.
Presenting fashion as a site of exploration, Hussein and McQueen challenged preconceived notions of what clothing can mean, rather than as garments with only functionality in mind. Motivated by ideas and disciplines not readily associated with fashion, their designs cross between architecture, design, philosophy, anthropology, science and technology.( Shad Thames,2010)
Both challenge the variety and use of materials. Hussein has even used plastic and wood for his ‘furniture” collection, and McQueen used sellotape for his “The Birds” collection conceptualizing road kill.
McQueen and Hussein have the ability to shock, electrifies and provoke the apperception of the public, and could even be thought of as “abstract theoretical designers” and “philosophers”. (Lubomir Stoykov,2010)
“My work is about ideas. If I had to define my philosophy in just a few words, it would be about an exploration, a journey, storytelling – it is a combination of these...
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