Concepts and Inspirations of Alexander McQueen's Designs through Scenography | ||||
| International Design Journal | ||||
| Article 30, Volume 7, Issue 2 - Serial Number 22, April 2017, Page 315-330 PDF (1.74 MB) | ||||
| Document Type: Original Article | ||||
| DOI: 10.12816/0046578 | ||||
 View on SCiNiTO | ||||
| Author | ||||
| Rehab Ragab Mahmoud Hassaan | ||||
| Faculty of Home Economics, Helwan University | ||||
| Abstract | ||||
| There are several ways to present fashion, catalogs photographs, journals, magazines and shop displays. However, the live show is considered the most important among them. The designer can creatively employ the scenography elements of the show to clarify and emphasize the concept behind the collection or its inspiration. The majority of the Egyptian fashion designers, if not all of them, follow very traditional approach in showing fashion, such as a narrow catwalk, a white ground, a white backdrop carrying the brand name, rhythmic music, and a typical models' performance with elegant make-up and hair style. However, fashion is much more than that! Unfortunately, the Arab designers confine fashion and fashion shows to a narrow angel. Thus, the current study aims at introducing and analyzing the most outstanding shows of McQueen, the outstanding fashion designer following the theatrical approach in his shows. The researcher aims at highlighting this neglecting side to the Arab fashion students and designers. Fashion is not about designing a sketch, taking measurements, drawing a pattern, tailoring and finishing the dress and wearing it! There is, or should be, a concept or an inspiration behind fashion show designs. Actually, there are many scenography elements which can, and should, be employed by the fashion designer cooperating with a multi-disciplinary team. The aim is to confirm the designer's concept and creativity. The study follows the descriptive approach in introducing and explaining 21shows of McQueen. The study recommends and asserts the importance of assessing the projects of the fashion students through fashion shows and training them to function in teams of different disciplines, such as scene directing, light directing, music, and make-up among others to apply their show visions. | ||||
| Keywords | ||||
| Scenography; Fashion Show; Theatrical Show; The concept behind the Collection; Spectacle elements; Scene Effects; Cinematic Panorama; Show Backdrop; Ephemeral Show | ||||
| References | ||||
|
1. ـ العبودی، ج. ج. (2016). "السینوغرافیا: المفهوم، العناصر، الجمالیات" . مکتبة عدنان للنشر والتوزیع والطباعة.بغداد. 2. ـ البیلی، ص. (2016، دیسمبر27). المسرح نیوز. Retrieved from: almasr7news.com/archives/8072 3. "Alexander McQueen'. Wikipedia.(n.d). Retrieved from: https://en.wikipedia.org/wiki/Alexander_McQueen 4. Anon. (2009). "Futuristic Faces". Vouge online. Retrieved from: http://www.vouge.co.uk/beauty/2009/10/07/peter-philips-alexander-mcqueen-backstage-beauty-paris-fashion-week-ss10 5. Bethune, K. (2015). Encyclopedia of collections. In Wilcox, W. Alexander McQueen. V&A Publishing. London. 6. Cartner-Morley, J. (2005, September19). Boy done good. The Guardian. London. Retrieved 2015, July27. 7. Cronberg, A.A. Astrova, A.& Evans, C. (n.d) "Specters of the past". Vestoi. The Journal Of Sartorial Matters. On Fashion and Magic. Second Issue 8. Deniau, A. (2012). "love Looks Not With the Eyes: Thirteen Years With Alexander McQueen". Harry, N. Abrams 9. -Evans, C. (2003). "Fashion at The Edge: Spectacle, Modernity and Deathliness". Newhaven CT. London 10. Fury, A. (2015). Show and Tell. In Wilcox, W. Alexander McQueen. V&A Publishing. London. 11. Glaeson, K. (2012). "Alexander McQueen Evolution". Race Point Publishing, New York 12. Harris, J. (2013). "Digital Skin: How Development In Digital Imaging Techniques and Culture are Informing the Design of Futuristic Surface and Fabrication Concepts". Textile: The Journal of Cloth and Culture. 11(3). Oxford. 13. Hollinghurst, A. (2004). "The Line of Beauty". London 14. Jordanova, L. (2012). "The Look of the Past: Visual and Material Evidence in Historical Practice". Cambridge. 15. Knox, K. (2010). "Alexander McQueen: Genius of a Generation". A&C Black Publishers Ltd. Great Britain 16. -McQueen, L.A. (2009). "SHOW studio: Plato's Atlantis". Interview with Nike Knigh. Retrieved from: http://showstudio.com/project/ platos_atlantis/interview 17. McRobbie, A. (1998). "British Fashion Design: Rag Trade or Image Industry". London 18. -Rawi, M. (2010, February13). A life in fashion: How Alexander McQueen became 'the most influential designer of his generation'. London: The Daily Mail. Retrieved from: http://www.dailymail.co.uk/femail/article-1250252/Alexander-McQueen-A-life-fashion.html 19. Robert, O.B. (2009). Style City: How London became a Fashion Capital". Frances Lincoln. London 20. -"Scenography Definition". (n.d). Retrieved from: https://ar.m.wikipedia.org/wiki/Scenography 21. Stephen, A. (2011, December24). Alexander McQueen: Fashion norms the loss of its brilliant 'enfant terrible'. The Daily Telegraph. London. Retrieved 2015, July27 22. Tomas, D. (2015). "Gods and Kings: The Rise and Fall of Alexander McQueen and John Galliano" . Penguin Press. New York. 23. Tran, M. (2010, February 13). Fashion designer Alexander McQueen dies. The Guardian. London. Retrieved 2015, July29. Retrieved From: https://www.theguardian.com/uk/2010/feb/11/alexander-mcqueen-dies-fashion-designer 24. Watt, J. (2015). "Alexander McQueen: The Life and the Legacy". Harper Design. New York 25. Willcox, W. (2015). "Alexander McQueen". V&A Publishing. London | ||||
|
Statistics Article View: 460 PDF Download: 427 |
||||
