Alexander McQueen's 'Savage Beauty' retrospective opens at London's V&A. The show expands upon New York's Costume Institute at the Metropolitan Museum of Art's initial exhibition of the same name. Courtesy of Victoria and Albert Museum London

亚历山大·麦昆(Alexander McQueen)曾说过，你必须知道打破这些规则是为了什么，这就是我来这里的目的，就是要打破这些规则，但要保持传统。设计师、影响者、有远见的、引领潮流的人，有时是无政府主义者，麦奎因是一个不像其他人一样的表演家。他在时装周的表演是戏剧的两倍；原始的，坚韧的，主题的，有时令人不安，但总是发人深省的，以及他在伦敦五世回顾展上的“野人美人”。

该展览在纽约的服装研究所扩大了大都会艺术博物馆的首次展览，同名，现在包括240个合奏由私人收藏家借出，包括Katy England，Annabelle Neilson和伊莎贝拉吹风收藏。

除了展示麦奎因在时装领域的巨大技巧和专业技能，图案制作和悬垂，它还记录了他的系列叙事，作为重新审视历史和辩论时事的平台。从1999年由斯坦利·库布里克(StanleyKubrack)创作的“闪耀”(TheShinging)跑道暴风雪到2006年的“卡洛登寡妇”(TheWidowsofCulloden)，凯特·莫斯(KateMoss)就像一张幽灵全息照片

麦昆是一位东区出租车司机的儿子，他首先是伦敦的冠军。他在剪裁和建筑方面的创造力源自他从15岁开始在伦敦萨维尔街(Savile Row)当裁缝学徒的早期培训，然后是在圣马丁中心(Central St Martins)的学费；他在巴黎纪梵希(Givenchy)担任创意总监期间，他的悬垂和制衣技能得到了发展。

正如他的节目开始在粗制滥造的工业位置上的细枝末节预算，这也是展览，设计本身构思由他的前生产公司盖恩斯伯里和Whiting。它打开了在简陋的混凝土渲染周围，这房子的例子，他早期剪裁，削减花边和碎皮革。相比之下，下一个房间是由镀金的金色框架所组成的，他登上了更黑暗的维多利亚戏剧，并通过他的黑色天鹅长袍来关注变化多端的女性形体。下一步：一个骨瘦如柴的洞穴，发掘了他浪漫主义的原始主义——挖掘了他对部落文化和古非洲文明的迷恋。一个富丽堂皇的镶木镶板的房间还容纳着他的女王作品，拥护皇家王权和他对苏格兰短裙的颂歌。

然后是在展览的好奇心橱柜，重点是麦昆的恋物癖，包括与菲利普·崔西合作制作女帽和肖恩·莱恩的主题性珠宝。这里捕捉到的另一个职业亮点是S/S 1999的“第13号”(No 13)，它看到沙洛姆·哈洛(Shalom Harlow)站在一个转盘上，穿着一件扣好的白色连衣裙，两只手臂喷上

在我们进入LadyGaga的“坏浪漫”剪辑之前，他的一些最高级的礼服后来被安置在木制和玻璃体中。麦奎因的‘柏拉图的亚特兰蒂斯’2010年的节目首次通过现场直播的轨道，这一服务汇集了他闪闪发光的施华洛世奇水晶迷你克里尼连衣裙和那些标志性的鲤鱼高跟鞋。

“我想成为某种轮廓的提供者，或者是一种剪影的方式，这样当我死了，人们就会知道21世纪是亚历山大·麦克奎恩(Alexander McQueen)开创的。”这个节目把这句话刻在石头上。

展览最合适的结局是麦昆的“庇护”系列，它是在一个双向镜像盒子里展出的，在展览开始前，观众被反射到玻璃里，但一旦展览开始，被关在笼子里的模特们就看不见了。他的话回荡在附近的一堵墙上，他说：“这是为了试图捕捉一些通常不那么美丽的东西，以表明美来自于内在。”

Designer, influencer, visionary, trendsetter, sometime anarchist, McQueen was a showman like no other. His fashion week presentations doubled as theatre; raw, thematic, sometimes disturbing, but always thought-provoking, and his retrospective is spun from the same golden thread. Courtesy of Victoria and Albert Museum London

Just as McQueen's early shows were staged in gritty industrial locations, so too does this exhibition, whose design has been conceived by his former production company, Gainsbury and Whiting. Courtesy of Victoria and Albert Museum London

The retrospective opens amidst humble, concrete rendered surrounds, which house examples of his early tailoring. Courtesy of Victoria and Albert Museum London

The next room, by contrast, is dominated by gilt gold frames and aged mirrors that mount examples of his powerful historical musings. Courtesy of Victoria and Albert Museum London

Here, his darker dramatics focus in on metamorphic female forms as seen through this black swan gown

McQueen's creativity in cut and construction was derived from his early training on London's Savile Row as a tailor's apprentice from the age of 15, followed by tuition at Central Saint Martins

A bone-clad cave unearths his romantic primitivism - tapping into the designer's fascination with tribalism and especially ancient African civilisations. Courtesy of Victoria and Albert Museum London

A regal, wood panelled chamber furthermore hosts his queenly works. Courtesy of Victoria and Albert Museum London

This room champions his royal regalia and ode to the Scottish kilt

The exhibition's 'cabinet of curiosities' draws together McQueen's fetishes including collaborations with Philip Treacy for millinery and Shaun Leane's thematic jewellery  

Another career highlight captured in this room is S/S 1999's 'No 13' finale that saw Shalom Harlow standing on a turntable dressed in a buckled white dress being sprayed with paint by two robot arms. Courtesy of Catwalking

Philip Treacy's red butterfly headdress from S/S 2008's 'La Dame Bleue' collection. Courtesy of Anthea Sims

The iconic armadillo heels from McQueen's 'Plato's Atlantis' 2010 show

McQueen often mined clothes from other cultures, recasting them as 'fashion' rather than 'costume'. Africa, China, India, Turkey and Japan were recurring influencers. Courtesy of Victoria and Albert Museum London

2006's 'The Widows of Culloden' collection that saw Kate Moss floating above the audience like a ghostly hologram. The romantically ruffled dress that she wore is featured within the exhibition along with a reproduction of the 19th century technique called 'Pepper's Ghost', which involves projectors and mirrors rather than a digitally rendered image

Some of McQueen's most haute gowns are housed within wooden and glass vitrines. Courtesy of Victoria and Albert Museum London

A remake of the white tiled set of Lady Gaga's 'Bad Romance' clip that featured McQueen's 'Plato's Atlantis' 2010 collection. Courtesy of Victoria and Albert Museum London

His 'Plato's Atlantis' show debuted the track via live streaming, and this offering draws together his glittering Swarovski crystal mini-crini dresses

The exhibition's denouement is McQueen's 'Asylum' collection that was staged inside a two-way mirrored box whereby the audience was reflected in the glass before the show began, but once it started, the caged models could not see out. 'It was about trying to trap something that wasn't conventionally beautiful to show that beauty comes from within,' reverberates his quote, immortalised on a wall nearby. Courtesy of Victoria and Albert Museum London

keywords:Alexander McQueen, Savage Beauty, V&A

关键词：亚历山大麦昆，野蛮美女，V