《亚历山大·麦昆:野性之美》的原文摘录

  • "[I design from the side,] that way I get the worst angle of the body. You've got all the lumps and bumps, the S-bend of the back, the bum. That way I get a cut and proportion and silhouette that works all the way round the body." (查看原文)
    Tofu 2014-07-24 14:48:14
    —— 引自第36页
  • "I don't really get inspired [by any women].... It's more in the minds of the women in the past, like Catherine the Great, or Marie Antoinette. People who were doomed. Joan of Arc or Colette. Iconic women." (查看原文)
    Tofu 2014-07-24 14:50:58
    —— 引自第115页
  • "Fashion can be really racist, looking at the clothes of other cultures as costumes. ..." (查看原文)
    Tofu 2014-07-24 14:58:00
    —— 引自第130页
  • TB: With the resources from Givenchy, did this make Lee more experimental with his collections? SB: Yes, they definitely helped Lee to push boundaries. I remember one collection — the prêt-à-porter autumn/winter 1999-2000 collection — which invoked a model in Perspex robotic body. The guy who made the robot told us ten minutes before the model walked out, "If she sweats in the suit, she's going to electrocute herself. So tell her not to sweat." (查看原文)
    Tofu 2014-07-27 10:39:49
    —— 引自第226页
  • TB: When he was visualizing the show, was he thinking each look as a character, like he was casting a production? SB: Each show was very much done as a couture show, in that Lee would have a board numbered, say, one to fifty, and we always had about seventy-five looks. We would edit them in Paris. They were grouped, quite often in three sections, and there was always a story. Irere [spring/summer 2010] was the first time we'd ever done a pre-collection, so the whole first group was pre-collection. (查看原文)
    Tofu 2014-07-27 10:48:33
    —— 引自第226页
  • TB: Did Lee ever acknowledge a "McQueen" in his history? Someone who taught him to put in a zip? SB: I think he very much did it on his own, although he would talk about Romeo Gigli a lot. (查看原文)
    Tofu 2014-07-27 11:03:02
    —— 引自第228页
  • There were ten shows of ideas in one show; it was endless. Like the VOSS collection [spring/summer 2001], his first after leaving Givenchy. He often went back to that one. (查看原文)
    Tofu 2014-07-27 11:08:59
    —— 引自第228页
  • He used to love Michel Frizot's A New History of Photography in particular. Quite often things would come from this book, normally at the beginning of the season. (查看原文)
    Tofu 2014-07-27 11:11:05
    —— 引自第229页
  • He didn't really go to the cinema to watch films. He watched DVDs. (查看原文)
    Tofu 2014-07-27 11:23:33
    —— 引自第230页
  • In her contemplations, Helena believes that love has the power to transform something ugly into something beautiful because love is propelled subjective perceptions of the individual, not by objective assessments of appearance. This belief was not only shared by McQueen but also critical to his creativity. As in a midsummer night's dream, the themes of love and beauty were central to his vision of fashion, which reflected upon the appearance by revealing both the prejudices and the limitations of our aesthetic judgments. (查看原文)
    Cor. 2015-11-12 17:24:11
    —— 引自第12页
  • "In fashion...the show...should make you think, there is no point in doing it if it's not going to create some sort of emotion." (查看原文)
    Cor. 2015-11-12 17:36:45
    —— 引自第12页