Alexander mcqueen fall 1996 tokyo cafe interview in zyappu magazine vol.3 no.10

On March 1st, I rushed from London's Heathrow Airport to see the Alexander McQueen show. The invitation said it would be held at an old church in the East End from 7:30 P.M., but even after 8 P.M. there were so many people outside and it was really noisy. Candles were lit throughout the church : it was a performance typical of McQueen's neo-Gothic style. At this show, he made the strong impression that he is currently the most talented young designer in London. Ten days after the show, I caught up with him again, this time in his studio, to talk about his upcoming show in New York on March 29th. I also met with him while he was in Tokyo for his show on April 22nd. After New York, he was a little tired from his busy schedule of performing with Dennis Hopper in Florence and then heading to Tokyo, but the interview took place while he was preparing for the show two days later.

Lee Alexander McQueen in Tokyo, Japan - April 1996 (Photograph by Noboru Kikuchi)

Hirayama : I have seen dozens of shows in Milan, Paris, and London, but there weren’t many really exciting shows. Of course, the primary purpose is to show the clothes, but I would also like to see a show where I can get a sense of what the designers are trying to say, their image and message. And I want it to be interesting and fun. Some designers are not able to do that. For example, John Galliano and Vivienne Westwood always show great stories. British designers, including yourself, are really exciting because they are intelligent and have more to offer.

McQueen : Of course I do shows to sell clothes, but at the same time I hope I can make people feel something.

Hirayama : During the design process, do you think about how the clothes will be presented in the show, or do you have a storyline in mind?

McQueen : Of course, but I think about it after the clothes are made and ready to wear, in other words, when I am coordinating them.

Hirayama: This was your first show in New York, was it the same show as in London ?

McQueen: No, the New York show was more promotional. We showed more wearable clothes. Americans are quite slow-witted people, so we were less radical than in London (laughs).  It was not that we presented completely different clothes, but we changed the style of the show. Americans really don't understand that kind of thing (laughs).

Hirayama: So what do you think of Tokyo ?

McQueen: I think Tokyo is unfortunately closer to New York, only more intelligent.

Hirayama : That’s not true. They are very fashion conscious. After all, they were the first to accept your clothes.

McQueen : It's not as radical as London. This show in Tokyo is in a small place, so I want to do something different from both London and New York.

Hirayama: Last week I met with the designer of ‘Copperwheat Blundell’ who was in Tokyo. The woman, Pamela Blundell, told me that when she taught cutting at Central St. Martin's, there was nothing she could teach you as a student. You knew everything about cutting.

McQueen: Before that, I was a tailor in Saville-Row and at Romeo Gigli, who had a self-honed technique. Pamela and I are neighbors in London and we are very close.

Hirayama: Your tailored jackets will eventually become your identity. You have a lot of ingenuity in your cutting.

McQueen: When I was working at Romeo Gigli, I noticed a lot of things while I was working on jackets. My jackets have a low waistline to make the body look longer, or a high waistline to make the legs look longer. I like to play with proportions.

Hirayama: I was surprised when I saw the jackets and pants in your collection three years ago. The crotch of the pants was extremely short, and you broke the proportions completely.

McQueen : Yes, but new tailoring ideas don't come overnight. I think it's a gradual process. I know that, so I try not to rush it. I went to a store a while ago, and I thought Issey Miyake was very good in this area. They have a variety of tailored lines. They are always trying interesting things, such as using transparent materials to show seams on purpose. Some people are wondering if he will keep on doing pleats, but I don't think Issey is only fixated on them.

Hirayama : I think the image of your clothes is also created by the material. The transfer prints were strong this time as last time.

McQueen: I printed images of the Vietnam War. Then there were prints of starving children in Somalia. We did these kinds of ugly prints on expensive fabrics. I think this will have a strong impact. This kind of idea is necessary for the show.

Hirayama : Ah, are you really fascinated by pictures of the Vietnam War?

McQueen: Yes. I really like the photographs of a photojournalist named Don McCullin.

Hirayama : Who else do you like as a photographer?

McQueen : Henri Cartier-Bresson and Richard Avedon. I prefer Avedon's non-fashion photographs, portraits and so on. I think fashion is a really complicated world to work in. It's completely nonsensical to make different clothes every season, and you have to think about how to make yourself look good. But at the same time, shocking things keep happening in the world. Of course people who come to see the show don't expect to see a starving child in Africa there. So I wanted to show these images of starving children. The show is a 30 minute opportunity to do what I want to do, so I'll do what I want to do.

Hirayama : The models surprise us not only with their clothes, but also with giant deer antler hair ornaments (laughs). The label is also interesting. Why put human hair on the label?

McQueen: In 19th century East End London, prostitutes sold their hair to put in locket pendants. At that time, it was popular to give locket pendants with one's own hair to one's lover.

Hirayama : Putting human hair on a label is a great idea, but it must have been very expensive.

McQueen : That's why I only put these labels on expensive jackets. Because it takes a lot of time and effort.

Hirayama : Nowadays, labels have become something very personal. Martin Margiela uses a white one to show his anonymity, but it really stands out (laughs).

McQueen : It's personal, so the person who buys it might think “it's Alexander McQueen's own hair !” (laughs).

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(This interview was first published in Japanese in ZYAPPU No.10 Autumn 1996, and scanned by the Archaism studio team.)