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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.

Background

British fashion designer Alexander McQueen was known for his imaginative, sometimes controversial designs, and dramatic fashion shows. During his nearly twenty-year career, he explored a broad range of ideas and themes, including historicism, romanticism, femininity, sexuality, and death. He began as an apprentice on Savile Row, earning a reputation as an expert tailor, before briefly working at theatrical costume supplier Berman's & Nathan's in 1989. In 1990, McQueen enrolled in the master's-level course in fashion design at Central Saint Martins (CSM), a London art school, where he was mentored by course founder Bobby Hillson. He graduated with his master's degree in fashion design in 1992.

Birds, wings, and feathers were a recurring theme in McQueen's work throughout his career. His fifth collection, The Birds (Spring/Summer 1995), was inspired by ornithology, the study of birds, and named for the 1963 Alfred Hitchcock film The Birds. Several garments from this collection were printed with silhouettes of swallows in flight. The stage of his thirty-first collection, La Dame Bleue (Spring/Summer 2008), was illuminated by giant blue neon wings. Other collections with heavy use of avian elements included Voss (Spring/Summer 2001), Irere (Spring/Summer 2003), and The Widows of Culloden (Autumn/Winter 2006).

McQueen had a difficult relationship with the fashion industry. The extreme styling in his first collections resulted in media accusations of misogyny; despite his objections, the label persisted through much of his career. McQueen was often ambivalent about continuing to work in fashion, which he sometimes described as toxic and suffocating. By the mid to late 2000s, he had reached a point of exhaustion, at one point saying, "I go in, I do my business, do the parties, and leave."

Several of McQueen's collections were intended as commentary and critique on the industry. It's a Jungle Out There (Autumn/Winter 1997) used the short lifespan of the Thomson's gazelle as a metaphor for the "fragility of a designer's time in the press." Voss (Spring/Summer 2001) and What A Merry-Go-Round (Autumn/Winter 2001) used imagery associated with insane asylums and circuses to portray the fashion industry as chaotic and deranged. The program notes for Natural Dis-tinction, Un-Natural Selection (Spring/Summer 2009) explained that McQueen was concerned about how industrialisation and consumerism were damaging the natural world.

McQueen designing on the floor, personally pinning and sewing, unusual Unusually hands-on with his work, notably cutting and pinning the pattern for each runway piece personally.

Concept and collection

The Horn of Plenty: Everything But the Kitchen Sink (Autumn/Winter 2009), generally referred to as The Horn of Plenty, is the thirty-fourth collection McQueen made for the his eponymous fashion house. McQueen, then 39, viewed the collection as the last he would make as a young man. Accordingly, it was self-reflective, serving as retrospective of his career to that point, and many details, including the set decoration and soundtrack, referred back to previous works. The title referenced the pub where the final victim of Jack the Ripper was last seen, calling back to McQueen's first collection, Jack the Ripper Stalks His Victims (1992). Many designs were revisions of earlier ideas, while other items, like the chainmail yashmak, were archival pieces taken from previous collections and heavily restructured. Frankel describes bottoms being reworked into tops, trousers into sleeves, and dresses into coats.

By the time he staged The Horn of Plenty, McQueen was more disillusioned with the fashion industry than ever, particularly in light of the 2007–2008 financial crisis that had devastated the global economy. He was concerned with the way the rapid turnover of the fashion cycle relied on consumerism and over-consumption to turn a profit, creating unnecessary waste.

The collection was conceived as a dark satire of the fashion industry with pastiches of notable designers and McQueen's past works. McQueen drew extensively on the fashion of the 1950s for the collection, with repeated references to the New Look created by designer Christian Dior, the tweed suits which Coco Chanel was known for, and the little black dress popularised by Hubert de Givenchy. Author Katherine Gleason identified references to later designers as well: the wrap dresses of Yves Saint Laurent, a knitted dress with embellishments that suggested the medusa logo of Versace, and a 1990s dress from Comme des Garçons.

Primary silhouettes included McQueen staples like tailored coats, slim waists, and large shoulders, as well as boxy jackets, a shape he rarely used; conversely, he avoided his usual corset-based designs.

The visual inspiration for the trash-as-couture aesthetic was a 2007 portrait by Hendrik Kerstens. Inspired by the work of 17th century painter Johannes Vermeer, it features the artist's daughter wearing a white plastic bag as a wimple. Many items were made to resemble trash, such as coats which looked like bin bags. These items were made from expensive specialist materials such as paper nylon and lacquered silk, which McQueen described as an additional layer of irony.

Accessories were made from repurposed everyday items. Miliner Philip Treacy made hats from lampshades and umbrellas, among other things. Hair stylist Guido Palau made headpieces from aluminum cans sprayed black and wrapped in plastic. !!!!Unseen says Palau did the cans - make sure!!!! McQueen had experimented with extreme footwear for previous collections. His Spring/Summer 2008 collection, La Dame Bleue, included high platform shoes inspired by the Japanese geta and the Venetian chopine of the 15th century. He brought these ideas into The Horn of Plenty, which featured platform boots in houndstooth and red geta-style heels with a thin strap like a Mary Jane shoe.

The palette was mainly black and white, with strong accents of red and orange. The collection featured several patterns, most prominently houndstooth, Prince of Wales check, and harlequin diamonds. The use of houndstooth, a reference to Dior's New Look, was especially exaggerated – some ensembles had multiple items in different sizes of the pattern. Look 6 had a fur coat rendered in a large houndstooth. A print of swallows which had appeared on several garments from The Birds was reworked for The Horn of Plenty. The new version featured a houndstooth pattern that, through tessellation, transformed into birds. Textile curators Clarissa M. Esguerra and Michaela Hansen identified the houndstooth as a reference to Dior and the tessellation as a reference to M. C. Escher, respectively.

Production details

The creative process took approximately six months. The majority of the production was concentrated into five weeks, beginning in February 2009 with preliminary work at McQueen's London workshop, a final week of polishing in Paris, and ending with the runway show.

Frankel described McQueen's production team, many of whom had worked with him for years, as working with a degree of commitment she considered "unprecedented"; they were exhausted by the time they reached Paris.

Alexander McQueen: Working Process

In 2008, McQueen asked his friend Nick Waplington, a photographer, if he would be interested in working with him on a photo book documenting the process of creating one The Horn of Plenty from beginning to end. At the time, Waplington was working in Jerusalem and wanted to put the project off for several years while he finished his work there. McQueen insisted that it had to be that collection at that time, and Waplington realised that it was because McQueen "saw it as closing the door on his first 15 years; he saw it as his last collection as a young man". He also asked his journalist friend Susannah Frankel to participate. McQueen was generally private to the point of deliberate obtuseness; both Frankel and Waplington considered the project an opportunity to glean an unusual amount of insight into his mind and creative process.

Waplington spent the next six months shadowing McQueen from the very inception of the collection all the way to the runway show, taking approximately 700 to 800 photographs. He deliberately stayed in the background in order to not interfere with the process. In an interview with British Vogue, Waplington described watching McQueen at work: "He'd sit quietly, and then there would be these Svengali-like moments where someone would bring him a roll of fabric and he'd jump up and grab the rolls of cloth and drape them over the model and pin them and move them".

Once the show had concluded, McQueen and Waplington selected about 300 photographs, which McQueen arranged for the final book. Although it was completed by late 2009, minor issues with the publisher delayed their signing a contract until after the Christmas holidays that year, and in February 2010, McQueen committed suicide. Waplington received a number of offers to publish the book, but the Alexander McQueen brand asked Waplington to wait. Waplington agreed, not wanting to go ahead "without their blessing". The book, Alexander McQueen: Working Process, was published in 2013. The Tate Britain held an exhibition of the photographs in 2015.

Runway show

Production details

The runway show was staged on 10 March 2009 at the Palais Omnisports de Paris-Bercy, Paris. The show was dedicated to McQueen's mother.

McQueen typically worked with a consistent creative team for his shows. Overall styling was handled by Camilla Nickerson, while Gainsbury & Whiting were responsible for production. Joseph Bennett, who had designed all of McQueen's runways since No. 13 (Spring/Summer 1999), returned for set design. Hair was styled by Guido Palau, make-up by Peter Philips. Philip Treacy created headpieces.

The centrepiece of the set was a pile of props from McQueen's past shows, all painted black. There were horses from the carousel from What a Merry-Go-Round, the chandelier from Sarabande (Spring/Summer 2007), and a branch from the tree at the centre of The Girl Who Lived in the Tree (Autumn/Winter 2008).

The runway was made of cracked black glass.

The invitation featured an 2007 portrait by Hendrik Kerstens. Inspired by the work of 17th century painter Johannes Vermeer, it features the artist's daughter wearing a white plastic bag as a wimple.

Catwalk presentation

Models were styled with stark white face makeup, bleached eyebrows, and exaggerated, overdrawn lips in red or dark colors. The extreme look may have been a reference to avant-garde performance artist Leigh Bowery, whom McQueen knew and admired. Frankel took it as a jab at the kind of extreme looks created by plastic surgery. The hairstyling and the hats were unique to each model and each look.

The extremely high heels paired with the outfits were so tall it was difficult for the models to walk. The stylised poses and gestures they made on the runway called back to silent films and mid-century fashion photography.

Forty-five looks were presented across roughly three phases. The first fourteen looks were primarily based around black and white houndstooth. Looks 15 through 38, the largest part of the collection, mostly comprised ensembles in black, with some red-based outfits as well. The final seven ensembles were all showpiece dresses. Looks 39 through 42 had patterns with a base of red. Look 43 was a one-shoulder black mermaid gown in nylon made to look like a bin bag, styled with a floor-length shawl made to appear like black bubble wrap. The final two looks were a pair of feathered dresses inspired by the Matthew Bourne interpretation of Swan Lake. Look 44 evoked the white swan with a knee-length dress entirely covered in white feathers, with an exaggerated cowl surrounding the model's upper body and head. The final showpiece, a black feathered dress with exaggerated shoulders, referenced the black swan.

After taking his bows, McQueen departed immediately for his hotel room rather than meet with guests backstage, as is customary in the fashion industry. He had been avoiding these after-show meetings for several years by this point.

Notable ensembles

For Look 5, model Amanda Laine wore a houndstooth "New Look" dress accessorised with metal neck rings reminiscent of the ones used in It's a Jungle Out There, which themselves were references to the neck rings traditionally worn by the Southern Ndebele people of Africa.

Look 42 featured a reworked version of a chainmail yashmak by Shaun Leane originally made for Eye (Spring/Summer 2000), worn underneath a silk gown printed with milk snakes in red, black, and white.

Look 45, the final ensemble, is a knee-length dress made of duck feathers dyed black to resemble a raven. The silhouette draws on the exaggerated proportions of the 1950s silhouette, with a small waist and large shoulders. Feathers were a favored material for McQueen.

Reception

Critical reception to The Horn of Plenty was divided. Some found the trash theming, extreme heels, and exaggerated makeup misogynistic, while others appreciated the showmanship and references to classic haute couture.

Sarah Mower from Vogue wrote that McQueen was "the last designer standing who is brave or foolhardy enough" to present a collection so divisive. She felt the collection lacked McQueen's usual romantic side, and instead was full of "anger, defiance, or possibly gallows humor". Although it retained his usual high standard of craftsmanship, she felt the collection "didn't push fashion anywhere new", but suspected that might have been the point McQueen had been making.

When Vogue magazine asked various designers about their favourite shows by others, Marine Serre picked The Horn of Plenty, calling it a "powerful visual critique of consumerism". She said that McQueen's mix of aesthetics and messaging inspired her own work.

In her foreword to Working Process, Frankel described the collection as "satirical to the point of vicious". "The Horn of Plenty was certainly among Alexander McQueen's most brave and savage visions. If our fruitless obsession with physical appearance seems like dangerous territory for a fashion designer then that was precisely the point."

Analysis

Legacy

Several looks from the collection have been photographed for Vogue. Mario Testino photographed an editorial featuring a houndstooth skirt suit in 2009. Pop singer Lady Gaga wore the one-shoulder black mermaid gown from Look 43 for a shoot by Josh Olins. Patrick Demarchelier and Tim Walker photographed Look 10 and Look 2, respectively.

McQueen's next collection, Plato's Atlantis (Spring/Summer 2010), featured another extreme platform shoe, the armadillo shoe. These runway-only designs are almost 12 inches (30 cm) from top to sole, with a 9-inch (23 cm) spike heel. Several models declined to walk in Plato's Atlantis because of their concerns that the heels were too high to be safe, although in the end none fell.

In 2017, McQueen's longtime collaborator Shaun Leane auctioned a number of pieces he had created for the house at Sotheby's in New York. Coiled collar originally worn on the runway for It;s a Jungle, reused for Horn. #16 Irere discs also? Fashion dealer Steven Philip auctioned a number of archival McQueen pieces in 2023, including two from The Horn of Plenty. A houndstooth ensemble from the collection sold for £3,600, while a red and black blouse sold for £1,600.

Seán McGirr, the creative director of the Alexander McQueen brand since 2024, cited The Horn of Plenty and Plato's Atlantis as having had a strong influence on him in his formative years in fashion.

Museum ownership and exhibitions

Four ensembles from The Horn of Plenty, including black duck feather dress Look 45 – appeared in Alexander McQueen: Savage Beauty, a retrospective exhibition of McQueen's designs shown in 2011 at The Met and in 2015 at the V&A. four including , wood hat Philip Treacy Trash dress added for later one? check.

Look 15, a black dress-and-blouse ensemble made to resemble a bin bag, and a copy of Look 29, the red dress with swallow print, appeared in the exhibition Lee Alexander McQueen: Mind, Mythos, Muse, originally staged in 2022 at the Los Angeles County Museum of Art (LACMA). Both are owned by the LACMA. The National Gallery of Victoria (NGV) in Australia owns a copy of Look 29, a red dress with swallow print and black coordinating boots, and a black and white houndstooth cape from the retail collection.

Source dump

- not done here yet

Notes

1. Waplington says McQueen recruited him in 2007, but he was not living in Jerusalem until 2008.

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External links