lourdes sanchez bayas
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Some call him a fool for his over-the-top and outlandish catwalks; others hail him as a veritable haute couture genius and fashion visionary for the same reasons. Whatever your opinion of fashion designer Alexander McQueen may be, the fact remains that the man is highly skilled at creating very evocative—and provocative—pieces for his shows that give his audiences plenty to talk about for a long time. McQueen’s Fall 2009 RTW collection, introduced during Paris Fashion Week, was an spectacle of models strutting up and down the catwalk wearing sex-doll lips and theatrical (but mostly atrocious) attire, chain link masks, very tall platform shoes, and absurd (but highly entertaining) head gear such as umbrellas, lamps, plastic bags filled with garbage, and other kinds of “hats” I could not identify. Alexander McQueen’s creations never fail to leave a big impression—whether positive or negative—on people. As for me, I always look forward to being entertained by the designer’s weird creations.  It was certainly meant as a last-stand fin de siècle blast against the predicament in which fashion, and possibly consumerism as a whole, finds itself. The set was a scrap heap of debris from the stages of McQueen's own past shows, surrounded by a shattered glass runway. The clothes were, for the most part, high-drama satires of twentieth-century landmark fashion: parodies of Christian Dior houndstooth New Look and Chanel tweed suits, moving through harsh orange and black harlequinade looks to revisited showstoppers from McQueen's own archive.
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