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No. 13 Finale is a performance artwork by fashion designer Alexander McQueen, presented at the end of the Spring/Summer 1999 show for McQueen's eponymous fashion house.It consists of model Shalom Harlow wearing a white dress, standing on a rotating platform on the show's catwalk and being spray-painted by robots.
McQueen wanted to work for an existing fashion brand rather than assume the risk of founding his own, but friends persuaded him to present a collection for the Autumn/Winter 1993 season at London Fashion Week. [17] McQueen launched his own label with Taxi Driver, which was exhibited at the Ritz Hotel in London in lieu of a fashion show.
British designer Alexander McQueen designed 36 womenswear collections under his eponymous fashion label during a career that lasted from 1992 until his death in 2010. [a] [3] As a designer, McQueen was known for sharp tailoring, historicism, and imaginative designs that often verged into the controversial. [4]
The Marvel Show was a seasonal outdoor show that went on, in front of, and on the building to the left of the Firehouse facade for Ghostbusters Spooktacular and featured multiple Marvel Comics characters, such as Spider-Man, Storm, Iron Man, and Wolverine. [68] It opened in the summer of 1993 and closed in 1995.
[57] [58] Widows marked a return to theatricality for McQueen, whose shows in the preceding two seasons – The Man Who Knew Too Much (Autumn/Winter 2005) and Neptune (Spring/Summer 2006) – had been comparatively conventional. [25] [36] [59] McQueen typically worked with a consistent creative team for his shows, and Widows was no exception. [60]
Look 45, the final dress from the collection, at Alexander McQueen: Savage Beauty, Victoria and Albert Museum, 2015. The Horn of Plenty: Everything But the Kitchen Sink is the thirty-fourth collection by British fashion designer Alexander McQueen, made for the Autumn/Winter 2009 season of his eponymous fashion house.
The Sea Hear Now music, art and surfing festival was founded in 2018 by locals Danny Clinch, who has shot several Springsteen album covers, and Tim Donnelly with Sweetwood.
In a 2015 retrospective, Dazed magazine called Merry-Go-Round one of McQueen's darkest shows. [87] Fashion theorists Adam Geczy and Vicki Karaminas regard What a Merry-Go-Round as "unjustly overshadowed" by the preceding collection, Voss. [88] Despite its positive reception, Merry-Go-Round was not one of McQueen's personal favourites.