Any Alexander McQueen
retrospective was always going to be characterised by thoughtfulness and exactitude. With the opening date for the Costume Institutes Savage Beauty show looming, were getting tantalising insights into the work that went into creating the exhibition.
Those mannequins? Theyre not mannequinstheyre models, manipulated to resemble life-like statues through a combination of makeup, lighting and Photoshop, reported the New York Times.
Photographer Sølve Sundsbø and his team painted four models in a white acrylic paint from MAC that dried fast and didnt rub off the garments. Next, they tied strings around the models wrists, necks, waistsanywhere a traditional mannequin would show assembly seams.
During the retouching process, editors emphasised the seams and replaced the models heads with featureless mannequin heads, or lopped them off altogether. Et voilathe frozen effect of the catalogue.
The image-creation process spanned two months. The catalogue includes Sundsbøs shots of model Polina Kasina, a favourite of McQueens, in the same gold duck-feather coat and tulle skirt she wore in the designers posthumous A/W 10 show
. There are chillingly lifelike images from McQueens Platos Atlantis collection, his black feather finale piece from A/W 09
, and other iconic designs from his career.
The inventive techniques only proved possible because the exhibition drew heavily from the McQueen archives, rather than the Mets Costume Institute. (Garments may never be worn once accessioned into the museums fashion department.)