God Save McQueen
Nearly twenty-five years ago I was called into the office of Anna Wintour, my boss during her brief interregnum at *House & Garden* magazine before she ascended to fashion glory as editor-in-excelsis of *Vogue*. “You use too many adjectives,” she told me. “I don’t like adjectives. That’s all.” But I now wonder how one could possibly explain the peculiar and pathological art of Alexander McQueen (whose most powerful promoter has been Wintour) without recourse to many multiple modifiers?
May 24, 2011
The most notable change in female fashion during the past three decades has had nothing to do with such age-old preoccupations as hemline length, neckline depth, or silhouette width. Rather, it has been the inexorable transformation of the high-end women’s garment trade from the province of a tiny elite to an all-pervasive marketing tool for international luxury-goods conglomerates, which have masterminded such paradoxical concepts as mass luxury and global exclusivity, more through the sale of designer-label cosmetics and accessories than through clothing itself.
October 5, 2010
Monstres Sacrés in Love
All bio-pix are by definition ridiculous since their subjects have to be manifestly unique people—why else would the movie be made?—while what makes them unique is exactly what’s so impossible to convey. (Creativity is invisible, hence unfilmable.)
August 3, 2010