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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 on the fashion of the 1950s, especially the New Look created by designer Christian Dior, tweed suits by Coco Chanel, and the little black dress popularised by Hubert de Givenchy. 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. Aluminum cans sprayed black and wrapped in plastic headpieces All of these items were made from luxury materials such as silk, which McQueen described as an additional layer of irony.

Houndstooth red orange black "Harlequinade" 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 these elements references to Dior and M. C. Escher, respectively.

Production details

The collection took five weeks to create, beginning in February 2009 with preliminary work at McQueen's London workshop, and ending with a final week of polishing in Paris.

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

Before beginning work on the collection, McQueen sought out photographer Nick Waplington and journalist Susannah Frankel and asked them to document the production process, with the intent of producing a photo book. McQueen was generally private to the point of obscurity; Frankel considered it an opportunity to glean "unprecedented insight" into his mind. According to Waplington, McQueen wanted to document the collection closely because "he saw it as closing the door on his first 15 years; he saw it as his last collection as a young man". Waplington shadowed McQueen from the design stage all the way to the runway show, taking approximately 700 to 800 photographs. 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".

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. Frankel identified the carousel that had been the centrepiece of What a Merry-Go-Round, 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 and exaggerated, overdrawn red lips. 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 extreme looks created by plastic surgery. The hairstyling and the hats were unique to each model and each look.

Models wore extreme high heels based on the Venetian chopine sandal of the 15th century. They were so tall it was difficult for models to walk in them.

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

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

The Horn of Plenty was divisive. Some found the trash theming and extreme makeup misogynistic, while others appreciated the 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 a 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

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.

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 his collection in 2023, including a number of archival McQueen pieces. A houndstooth ensemble from The Horn of Plenty 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 (Spring/Summer 2010) as having had a strong influence on him in his formative years in fashion.

Source dump

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Notes

References

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2. ^ Mora, Juliana Luna; Berry, Jess (2022-09-02). "Creative Direction Succession in Luxury Fashion: The Illusion of Immortality at Chanel and Alexander McQueen". Luxury. 9 (2–3): 126, 128, 132. doi:10.1080/20511817.2022.2194039. ISSN 2051-1817.
3. Frankel 2011, pp. 13–14. sfn error: multiple targets (2×): CITEREFFrankel2011 (help)
4. Vaidyanathan, Rajini (12 February 2010). "Six ways Alexander McQueen changed fashion". BBC Magazine. Archived from the original on 22 February 2010. Retrieved 6 May 2022.
5. Lodwick 2015, p. 247.
6. Wilson 2015, p. 70.
7. Callahan 2014, pp. xv–xvi, 24–25, 27.
8. Cooper, Michelle (6 August 2010). "Who's Who: Bobby Hillson". Vogue.co.uk. Archived from the original on 3 October 2012. Retrieved 22 January 2013.
9. Blow, Detmar (14 February 2010). "Alex McQueen and Isabella Blow". The Daily Telegraph. Archived from the original on 3 January 2017. Retrieved 22 March 2021.
10. ^ Fennetaux 2018, 7.
11. Thomas 2015, pp. 122–123.
12. Callahan 2014, p. 103.
13. Thomas 2015, p. 123.
14. Watt 2012, p. 74.
15. Wilson 2015, pp. 11, 311.
16. Fairer & Wilcox 2016, p. 15.
17. O'Neill 2015, pp. 273–274.
18. Bethune 2015, p. 312.
19. Skogh 2015, p. 183.
20. Faiers 2015, p. 133.
21. Aftab, Kaleem (7 June 2018). "Alexander McQueen proved money doesn't bring you happiness, but will the truth of his character be revealed in latest documentary?". The Independent. Retrieved 21 July 2024.
22. Elenowitz-Hess 2022, p. 200. sfn error: no target: CITEREFElenowitz-Hess2022 (help)
23. Gleason 2012, p. 32.
24. "The McQueen chronicles". Women's Wear Daily. 28 September 2000. Retrieved 6 August 2024.
25. Wilson 2015, pp. 226, 254–255, 320.
26. Thomas 2015, p. 159.
27. Thomas 2015, p. 333.
28. Wilson 2015, p. 260.
29. "It's a Jungle Out There, Autumn/Winter 1997–98". Metropolitan Museum of Art. Retrieved 21 July 2024.
30. Cutting Up Rough (Television production). The Works. BBC Two. 20 July 1997. Event occurs at 23:42–24:10.
31. Watt 2012, pp. 167–168.
32. Callahan 2014, p. 216.
33. Geczy & Karaminas 2019, p. 83.
34. Mower, Sarah (3 October 2008). "Alexander McQueen Spring 2009 Ready-to-Wear Collection". Vogue. Retrieved 11 October 2024.
35. Frankel 2011, p. 23. sfn error: multiple targets (2×): CITEREFFrankel2011 (help)
36. ^ Frankel 2013, p. 4.
37. ^ Esguerra & Hansen 2022, p. 133.
38. Lewis, Tim (8 February 2015). "Why we're all still mad about Alexander McQueen". The Observer. Retrieved 11 October 2024.
39. ^ Homer 2023, p. 115.
40. ^ Mower, Sarah (10 March 2009). "Alexander McQueen Fall 2009 Ready-to-Wear Collection". Vogue. Retrieved 21 September 2024.
41. ^ Frankel 2013, p. 2.
42. Watt 2012, p. 259.
43. ^ Bethune 2015, p. 320.
44. ^ "Dress, The Horn of Plenty, Autumn/Winter 2009–10". Metropolitan Museum of Art. 2011. Retrieved 21 September 2024.{{cite web}}: CS1 maint: url-status (link)
45. Wilson, Eric (11 March 2009). "McQueen leaves fashion in ruins". The New York Times.
46. ^ Frankel 2013, p. 3.
47. ^ Milligan, Lauren (10 September 2013). "Beginning to end: The real McQueen". British Vogue. Retrieved 20 September 2024.
48. ^ Frankel 2013, p. 5.
49. Cochrane, Lauren (10 March 2015). "Five things we learned about the other Alexander McQueen exhibition". The Guardian. Retrieved 20 September 2024.
50. ^ Fairer & Wilcox 2016, p. 347.
51. "Interview: Joseph Bennett on Lee McQueen". SHOWstudio. 16 March 2015. Archived from the original on 15 February 2024. Retrieved 14 February 2024.
52. "Day 3: Joseph Bennett". SHOWstudio. Archived from the original on 2 October 2023. Retrieved 14 February 2024.
53. Honigman 2021, p. 14.
54. "Yashmak". Victoria and Albert Museum. 2015. Archived from the original on 28 July 2023. Retrieved 28 July 2023.
55. Garcia-Furtado, Laia (19 August 2024). "28 fashion designers reveal their all-time favorite fashion shows". Vogue. Retrieved 22 August 2024.
56. Alexander, Hilary (2 May 2011). "Alexander McQueen's 'Savage Beauty' honoured in style". The Telegraph. Archived from the original on 1 April 2017. Retrieved 6 August 2011.
57. Bolton 2011, pp. 232–234.
58. ^ Esguerra & Hansen 2022, pp. 170, 172.
59. "Artists | NGV". National Gallery of Victoria. Archived from the original on 23 October 2022. Retrieved 23 October 2022.
60. "Look 29, dress and boots". National Gallery of Victoria. Retrieved 21 September 2024.{{cite web}}: CS1 maint: url-status (link)
61. "Cape". National Gallery of Victoria. Retrieved 21 September 2024.{{cite web}}: CS1 maint: url-status (link)
62. "Couture Fashion Jewellery: The Personal Archive of Shaun Leane - N09794". Sotheby's. 2017. Retrieved 31 March 2024. Must be logged in to see actual selling price.
63. "(#33) Coiled Collar, Shaun Leane". Sotheby's. Retrieved 2024-09-23.
64. Goldstone, Violet (9 June 2023). "Coveted John Galliano, Vivienne Westwood pieces go up for auction". Women's Wear Daily. Retrieved 20 September 2024.
65. "Lot 500 - A good Alexander McQueen ensemble". Kerry Taylor Auctions. 20 June 2023. Retrieved 21 September 2024.
66. "Lot 501 - An Alexander McQueen satin blouse". Kerry Taylor Auctions. 21 June 2023. Retrieved 20 September 2024.
67. Phelps, Nicole (2 March 2024). "At Alexander McQueen, Seán McGirr wants to 'let the light in'". Vogue Business. Retrieved 22 September 2024.

Bibliography

• Bolton, Andrew (2011). Alexander McQueen: Savage Beauty. New York City: Metropolitan Museum of Art. ISBN 978-1-58839-412-5. OCLC 687693871.
  • Frankel, Susannah (2011). "Introduction". In Bolton, Andrew (ed.). Alexander McQueen: Savage Beauty. New York City: Metropolitan Museum of Art. pp. 17–27. ISBN 978-1-58839-412-5.
  • or Frankel, Susannah. Introduction. In Bolton (2011), pp. 17–27.

• Callahan, Maureen (2014). Champagne Supernovas: Kate Moss, Marc Jacobs, Alexander McQueen, and the '90s Renegades Who Remade Fashion. New York City: Touchstone Books. ISBN 978-1-4516-4053-3.
• Deniau, Anne (2012). Love Looks Not with the Eyes: Thirteen Years with Lee Alexander McQueen. New York City: Abrams Books. ISBN 978-1-61312-415-4. OCLC 785067241.
• Esguerra, Clarissa M.; Hansen, Michaela (2022). Lee Alexander McQueen: Mind, Mythos, Muse. New York City: Delmonico Books. ISBN 1-63681-018-7. OCLC 1289986708.
• Fairer, Robert; Wilcox, Claire (2016). Alexander McQueen: Unseen. New Haven, Connecticut: Yale University Press. ISBN 0-300-22267-X. OCLC 946216643.
• Fennetaux, Ariane (Autumn 2018). "Birds of a Feather: Alexander McQueen's Victorian Bestiary". Cahiers victoriens et édouardiens (in French) (88). doi:10.4000/cve.4328. ISSN 0220-5610.
• Fox, Chloe (2012). Vogue On: Alexander McQueen. Vogue on Designers. London: Quadrille Publishing. ISBN 1849491135. OCLC 828766756.
• Geczy, Adam; Karaminas, Vicki (2019). Fashion Installation: Body, Space, and Performance. London: Bloomsbury Visual Arts. ISBN 978-1-350-03253-8.
• Gleason, Katherine (2012). Alexander McQueen: Evolution. New York City: Race Point Publishing. ISBN 978-1-61058-837-9. OCLC 783147416.
• Homer, Karen (2023). Little Book of Alexander McQueen: The Story of the Iconic Brand. London: Welbeck Publishing Group. ISBN 978-1-80279-270-6.
• Honigman, Ana Finel (2021). What Alexander McQueen Can Teach You About Fashion. Frances Lincoln. ISBN 978-0-7112-5906-5.
• Knox, Kristin (2010). Alexander McQueen: Genius of a Generation. London: A&C Black. ISBN 978-1-4081-3223-4. OCLC 794296806.
• Thomas, Dana (2015). Gods and Kings: The Rise and Fall of Alexander McQueen and John Galliano. New York City: Penguin Publishing. ISBN 978-1-101-61795-3. OCLC 951153602.
• Waplington, Nick (2013). Alexander McQueen: Working Process. Bologna, Italy: Damiani Books. ISBN 978-1-84796-085-6. OCLC 855200647.
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External links