The Widows Of Culloden

''The Widows of Culloden'' (Autumn/Winter 2006; ) is the twenty-eighth collection by British designer Alexander McQueen for his eponymous fashion house. ''Widows'' was inspired by McQueen's Scottish ancestry, and was named for the women who were widowed following the Battle of Culloden, an engagement which marked the defeat of the Jacobite rising of 1745, a failed attempt by Charles Edward Stuart to regain the British throne. The collection focused on a Scottish theme, with extensive use of the McQueen family tartan and traditional gamekeeper's tweeds, as well as other elements taken from Highland dress. Fur and feathers were used for trim and accessories, further referencing the Scottish tradition of gamekeeping. Historical elements harkened back to the fashion of the late Victorian era and the 1950's, as well as military uniforms of World War II.

The collection's runway show was staged on 3 March 2006 at the Palais Omnisports de Paris-Bercy in Paris, and was dedicated to Isabella Blow, McQueen's friend and muse. The show marked a return to theatricality for McQueen, whose shows in the preceding two seasons had been comparatively conventional. ''Widows'' was presented on a square stage of rough wood with a glass pyramid at its centre. Fifty-one ensembles were presented across roughly three phases, ending with a Pepper's ghost illusion of English model Kate Moss projected within the glass pyramid.

Response to ''The Widows of Culloden'' was positive. Critics were particularly impressed with McQueen's tailoring – the designer's signature – and the collection's balance of artistry with commercial practicality. The show is regarded in hindsight as one of McQueen's best, with the illusion of Kate Moss regarded as the highlight of the show and one of McQueen's most dramatic runway moments. Ensembles from ''Widows'' are held by various museums and have appeared in exhibitions, including the McQueen retrospective '' Alexander McQueen: Savage Beauty''.

''The Widows of Culloden'' collection and show, especially the Kate Moss illusion, have been extensively analysed through various critical lenses. Academics have explored the show as an exploration of gothic literature in fashion, highlighting its historicism and air of melancholy and drawing comparisons with classic literature. It is frequently discussed with McQueen's first Scottish-themed collection, '' Highland Rape'' (Autumn/Winter 1995), which had an extremely controversial runway show.

Background

British designer Alexander McQueen was known in the fashion industry for dramatic, theatrical fashion shows featuring imaginative and occasionally controversial designs. Although he was born in England, McQueen's father was of Scottish descent. His mother was fascinated with this family history, an interest she passed on to McQueen early in his childhood. McQueen maintained an interest in contentious periods of Scottish history, especially events such as the Jacobite risings and the Highland Clearances. He resented the romanticisation of Scotland, particularly by other British fashion designers such as Vivienne Westwood, and drew inspiration from Scottish resistance to English domination.

McQueen's first Scotland-inspired collection was the controversial '' Highland Rape'' (Autumn/Winter 1995), which marked his first use of the red, black, and yellow McQueen clan tartan. The collection became known for its runway show, which featured models walking unsteadily down the runway in torn and bloody clothing. Intended as a reference to what McQueen described as "England’s rape of Scotland," the collection was described by many British fashion critics as misogynistic, a characterization McQueen consistently objected to. American journalists tended to be more positive about the collection: Amy Spindler of ''The'' ''New York Times'' called it "a collection packed with restless, rousing ideas, by far the best of the London season." In retrospective, ''Highland Rape'' is considered to be the launching point of McQueen's fame, and has been credited with leading to his appointment as head designer at French luxury fashion house Givenchy.

Concept and creative process

''The'' ''Widows of Culloden'' (Autumn/Winter 2006) is the twenty-eighth womenswear collection designed by McQueen for his eponymous fashion house. The collection was inspired by McQueen's Scottish ancestry, his love for the natural world, and Shakespeare's Scottish play '' Macbeth''. It was named for the women who were widowed following the Battle of Culloden, an engagement which marked the defeat of the Jacobite rising of 1745, a failed attempt by Charles Edward Stuart to regain the British throne. McQueen spoke of wanting to "show a more poetic side" with the collection.

''Widows'' features the return of many of McQueen's signature elements: sharp tailoring, altered silhouettes, and a dark yet romantic atmosphere. Multiple authors described it as something of a "greatest hits" collection for the designer. McQueen's typical tailored suits and dresses were accompanied by softer dresses and flowing evening gowns. The light, ethereal aspect of many of the dresses is credited to McQueen's time at Givenchy, where he learned ''le flou'', the dressmaking side of '' haute couture''.

Many elements from the collection were taken directly from or referred to traditional Highland dress, both upper- and lower-class. The primary fabrics used were tartan and tweed; Aran knit, brocade, black velvet, organza, and chiffon also featured in several ensembles. As in ''Highland Rape'', the tartan used in the collection is the red, yellow, and black McQueen family tartan, woven in a historic mill in Lochcarron, Scotland. Several of the tartan garments included aspects of the traditional '' féileadh-mór'', a large piece of fabric which is wrapped around the body and held by a belt, and the kilt, a knee-length wraparound skirt. Other uses of tartan were non-traditional, such as tailored jackets and suits.

The extensive use of tweed references the garb of traditional Scottish gamekeepers. Tweed production is indigenous to Scotland, especially in the Scottish Isles. In the 1840s, the fabric acquired an association with high-class leisure, after the British nobility began taking hunting trips to Scottish estates and adopting the tweed worn by locals and estate staff. The tweed also plays on McQueen's Autumn/Winter 2005 show, which made similarly heavy use of the fabric.

Hunting and gamekeeping is also referenced in the use of animal fur and items made from feathers and wings of game birds. Usage of animal parts, both natural and imitation, was typical for McQueen; he was especially partial to the symbolism associated with birds. The show's headpieces made particular use of avian elements. They were created by Irish-born milliner Philip Treacy, a frequent collaborator of McQueen's; they had been introduced by McQueen's friend and muse Isabella Blow. Their complexity and emphasis on birds has been interpreted as a gesture toward Blow, who loved elaborate headwear and the sport of falconry. According to author Katharine Gleason, the use of feathers and wings imparted a "mythic quality" to the models.

Many ensembles incorporated historical elements and allusions to other designers. Fashion historian Judith Watt noted references to the Arts and Crafts movement, as well as the S-bend silhouette common in the 1870s and 1880s. The use of wasp waists, bustles, close tailoring, and belted jackets can be seen as a reference to Victorian and 1950's fashion. Some designs alluded to the military uniforms of World War II, and model Spitfire planes were repurposed as hair accessories. The winged headpieces referenced a series of winged headdresses made by Italian couturier Elsa Schiaparelli in the 1930s. Several of the evening gowns took inspiration from a dress designed in 1987 by fellow British designer John Galliano, nicknamed the "shellfish dress" for its layers of white organza ruffles that resembled stacked clamshells. McQueen had long admired and sought to emulate the complicated construction of the original.

Runway show

Staging and design

The runway show for ''The Widows of Culloden'' was staged on 3 March 2006 at the Palais Omnisports de Paris-Bercy in Paris, and was dedicated to Isabella Blow. McQueen typically worked with a consistent creative team for his shows, and ''Widows'' was no exception. McQueen's creative director Katy England was responsible for overall the show's overall styling, and hairdresser Eugene Souleiman styled hair. Makeup artist Charlotte Tilbury styled makeup, which was kept minimal and neutrally-toned. Production was handled by production duo Gainsbury & Whiting, and John Gosling was responsible for soundtrack design. ''Widows'' marked a return to theatricality for McQueen, whose shows in the preceding two seasons – '' The Man Who Knew Too Much'' (Autumn/Winter 2005) and '' Neptune'' (Spring/Summer 2006) – had been comparatively conventional.

Gosling's soundtrack included songs from the 1993 film ''The Piano'', scored by Michael Nyman; bagpipes and drums from a Scottish pipe band; various punk rock tracks; and a sound effect of howling wind. McQueen originally intended to use a new track commissioned from Nyman for the finale, but dropped it in favor of a song from the soundtrack of the 1993 film ''Schindler's List''. Scottish historian Murray Pittock wrote that the use of the ''Schindler's List'' song "suggested an analogy between Culloden and the Holocaust."

The invitations for the ''Widows'' show were black and white, with a print of an Edwardian cameo and the title of the show rendered in .

Show

Audience members entered the space through a large glass pyramid. Seats were arranged around a square stage of rough wood, reminiscent of the wooden stage in his collection ''No. 13'' (Spring/Summer 1999). Another glass pyramid was placed in the centre of the square, leaving a catwalk which the models walked counter-clockwise. In contrast to ''Highland Rape'', in which models staggered or stalked angrily down the runway, the models in ''Widows'' moved in a stoic, upright manner which Gleason described as "the attitude of warrior princesses."

''Widows of Culloden'' comprised fifty-one ensembles across three broad phases, with each look worn by a different model. The show opened with dresses, sweaters, and tailored suits in tweeds, Aran knits, and brocades of muted neutral shades. The next phase comprised dark-colored outfits with a focus on tartan and black leather, followed by a series of black evening gowns sometimes taken as mourning dresses. The final looks were a set of lighter-colored gowns, some of which were worn with frock coats. According to Jonathan Akeroyd, then CEO of the Alexander McQueen brand, the looks chosen for the runway "represented about half of what was available" for sale from the collection. The show closed with a Pepper's ghost illusion within the glass pyramid, featuring a life-sized projection of Kate Moss, an English model and friend of McQueen's, wearing a billowing chiffon dress. It was the first fashion show to employ this kind of illusory effect.

Notable ensembles

The show opened with Ukrainian model Snejana Onopka wearing a tailored tweed suit with fur collar, cream shirt with ruffled front, tan-colored leather boots, and a headpiece made from a pair of mallard duck wings surrounding a silver bird's nest with blue eggs made from quartz Swarovski crystals, speckled to look like duck eggs. The nest and eggs were created by British jeweller Shaun Leane, while the headpiece was made by Treacy.

Look 12 was a full-length dress covered entirely in pheasant feathers. Its long torso and flared lower portion reference the style of gowns from the 1890s. In an interview, researcher Kate Bethune described the unique construction of the dress: "each of the feathers has been individually hand-stitched onto a length of ribbon, and then these lengths of ribbon have been stitched onto a net ground." Jess Cartner-Morley of ''The Guardian'' called it "meticulously engineered" and likened it to a full-length dress made of razor clam shells from ''Voss'' (Spring/Summer 2001). Fashion theorist Jonathan Faiers wrote that the lavish use of game bird feathers evoked Scotland's transformation into a "sports arena for absentee English landlords" in the late Victorian era.

Look 33 was a one-shouldered tartan dress with tulle underskirt, styled with an undershirt of sheer fabric with rose designs in black, creating an illusion of arm and chest tattoos. The model's waist was cinched by a large belt in dark leather with a Celtic buckle. Roses paired with plaid was a combination used on some Jacobite clothing. Australian model Gemma Ward wore this dress for an editorial fashion shoot in the July 2006 issue of '' Harper's Bazaar'', styled with the Spitfire headpiece from Look 44.

Brazilian model Raquel Zimmermann wore Look 47, one of the collection's most-discussed ensembles, a full-length ivory gown in silk tulle and lace with an antlered headdress. The flowers from the lace were individually cut and hand-sewn to the tulle. The dress ended in a fishtail hem with a tumble of lace ruffles set on the bias; Watt noted a similarity to dresses in the paintings of French artist James Tissot. For the headpiece, a £2,000 piece of hand-embroidered lace was draped over and pierced by a pair of translucent white Perspex antlers to form a veil. The gown was based in part on the wedding dress of Sarah Burton, a designer with McQueen's label; some sources refer to it as a wedding dress, but it has also been called the Widow's Weeds, after the Victorian term for women's mourning clothing. McQueen had employed a similar headpiece using antlers and black lace in ''Dante'' (Autumn/Winter 1996), which reappeared in his 2004 retrospective show ''Black''.

Look 48 was a flowing gown in off-white chiffon, worn by Gemma Ward, with butterflies placed in the hair as accessories. Both Judith Watt and fashion journalist Dana Thomas have called it an evolution of the oyster dress, a design from ''Irere'' (Spring/Summer 2003), which itself took inspiration from Galliano's shellfish dress. Cartner-Morley connected the use of butterflies to the final showpiece of ''Voss'', in which artist Michelle Olley was "besieged by giant moths."

Reception

Contemporaneous critical response to the collection and the show was positive. The runway show earned McQueen a standing ovation, a rarity in fashion. Reviewers particularly noted McQueen's tailoring and the artistic yet wearable nature of the collection.The illusion of Kate Moss is regarded by many critics as the highlight of the runway show. ''Women's Wear Daily'' named ''Widows'' one of their top ten collections for the Fall 2006 season. It had the highest pageviews at '' Style.com'' for any major collection that season, with 1.7 million. Robert Polet, then chairman of Gucci Group, the parent company for McQueen's label, reportedly cried "bravo!" upon seeing it.

Writing for ''Vogue'', Sarah Mower called it a "timely reconfirmation of McQueen's unique powers as a showman-designer". For ''The Daily Telegraph'', Hilary Alexander said that it "restored the true spirit of the romantic renegade to the catwalk." Lisa Armstrong at ''The Times'' wrote that "almost every item was a showstopper but also eminently wearable", although she called the Moss illusion "unspeakably cheesy". According to Susannah Frankel at ''The Independent'', the show was "a return to the unbridled spectacle and raw power with which he made his name," citing its "juxtaposition of fragility and strength, masculinity and femininity".

The collection is viewed favorably in retrospect. In a 2011 interview with ''Vogue'', Sarah Burton, who succeeded McQueen as the label's head after he died in 2010, described ''Widows'' as one of his most iconic collections. In 2012, Judith Watt called the sculptural aspects of some designs close to the "purist cutting of Cristóbal Balenciaga," a Spanish designer known for technical precision and unique silhouettes. Dana Thomas said that ''Widows'' represented a "Best of McQueen in the 1990s" in her 2015 book ''Gods and Kings'', writing that many ensembles appeared to be revisions of McQueen's own earlier designs. British fashion curator Claire Wilcox described ''Widows'' in 2016 as a "masterly, romantic collection". Edinburgh-based journalists Caroline Young and Ann Martin wrote that the collection's slim-fit tailored tartan suits "presented the designer's refined craftsmanship at its very best." Speaking in 2020, author Vixy Rae said "it had a focus of extreme technicality matched with richness of imagery with ideas taken directly from Scottish costume".

Analysis

''Highland Rape'' and Scottish culture

''Widows'' served as a counterpart to the controversial ''Highland Rape'', which was also heavily inspired by Scottish culture. In comparison, ''Widows'' has been described as less angry and more reflective. McQueen himself reflected that ''Widows'' displayed a more positive view of Scotland, and related the difference to his own mental health, saying "I’m in a much clearer head space now than I was when I did the ''Highland''." The collections were discussed together in a 2014 BBC Alba documentary, ''McQueen of Scots'', which explored McQueen's Scottish heritage and its influence on his designs.

Art historian Ghislaine Wood wrote that the "two collections provided contrasting but cathartic narratives on specific historical events...and in many ways they reflect the complexity and drama of McQueen’s vision". Author Katherine Gleason wrote that the use of tartan in ''Widows'' was "more polished, softened with ruffles and embroidery". To Lisa Armstrong, the restrained nature of ''Widows'', compared to the overt political rage of ''Highland Rape'', was a sign of maturity. Murray Pittock viewed both collections as part of the evolution and worldwide dissemination of tartan since the 1990s.

While softer than ''Highland Rape'', ''Widows'' is nonetheless interpreted as a statement about the appropriation of Scottish culture in a wider British context. McQueen's use of tartan in ''Widows'', and the anglicized aspects of the designs, has been viewed as an exploration of the commodification of tartan in high fashion and British culture. Pittock noted that the wide-ranging visual elements of ''Widows'' "symbolically commented on the destruction, misprision and exploitative reinterpretation of Scotland for a global audience". For American fashion editor Robin Givhan, the use of tartan "hinted at the rebellion of the punk movement without embracing its anger."

Gothic elements

Critics have described ''The'' ''Widows of Culloden'' as an exploration of Gothic literary tropes via fashion, and some have compared it to specific works of classic literature. Gothic fiction, as a descendant of Romanticism focused on fear, emphasizes feelings of the sublime and the melancholy. It is distinguished from other genres by its focus on the present as a state inevitably haunted by the past: literally, in the form of ghosts, as well as metaphorically, through memories and secrets.

In McCaffrey's view, ''Widows'' exemplified melancholy – in the Gothic sense of "tensions between beauty and heartache" – through its visual staging. The stoic performance of the models represented a dignified grief that he likened to "visions of gothic heroines stalking the candle-lit corridors of an ancient castle". He called the illusion of Kate Moss an example of highly-staged melancholy, with every element contributing to the audience's emotional involvement. Kate Bethune presented a similar analysis, noting that the collection's sense of melancholy was "consolidated in its memorable finale".

Discussing McQueen's proclivity for the gothic more generally, Spooner highlighted his fascination with dark aspects of history. She noted that in several of his most historical collections, including ''Highland Rape'', ''Widows'', and '' In Memory of Elizabeth Howe, Salem, 1692'' (Autumn/Winter 2007), the "distressed fabric; screen-printed photographs; fragments of historical dress disassembled and reordered" reflect the disturbing aspects of history he drew on for inspiration. Author Chloe Fox wrote that McQueen had "mined the refined sense of an aristocratic past" to produce the collection. Literature professor Fiona Robertson found that McQueen's Scottish collections and the historical novels of Scottish writer Walter Scott epitomized the Scottish style of gothic by focusing on the country's "broken and self-alienated national history".

The mood of ''Widows'' may be read as part of a shift towards darkness and melancholy as an aesthetic in fashion, which some authors have argued was a response to global turmoil and increased nihilism following the turn of the century. Art historian Bonnie English noted that numerous major designers, including Karl Lagerfeld, John Galliano, Yohji Yamamoto, and Marc Jacobs, produced sombre collections for the Fall/Winter 2006 season. In a 2019 ''New York Times'' essay discussing the cultural archetype of the melancholy woman, writer Leslie Jamison described ''Highland Rape'' and ''Widows'' as emblematic of an "aesthetic of suffering" in fashion.

Historicism

Historical references are a major component of ''The Widows of Culloden'', resulting in critical discussion over whether the collection is modernist or historicist. Cultural theorist Monika Seidl called ''Widows'' a collection in the vein of the Romantic movement, citing it as an example of fashion that "self-confidently plays around with time when fragments from the past are blatantly and visibly reactivated as the new look of the moment." Cathy Horyn of ''The New York Times'' argues that McQueen was "a storyteller," which positioned him as anti-modernist. She criticized the historical elements in ''Widows'' as an unnecessary obstacle between McQueen and his designs. Historian Jack Gann argued that, in effect, it was both: the modern and historical elements combined to show that "perception of our place in time is simultaneously of multiple eras".

Deborah Bell, a professor of costume design, cited curator Andrew Bolton in noting that the "romantic version of historic narrative" from ''Highland Rape'' and ''Widows'' was "profoundly autobiographical" for McQueen. Costume curator Lilia Destin noted that the collection subverted typical historical narratives by ignoring warriors in favor of their widows, and wrote that it "awards their ghosts a sense of transhistorical agency through memory." Historian Timothy Campbell wrote about ''Highland Rape'' and ''Widows'' in the coda to his 2016 book ''Historical Style'', describing them as counter-arguments to the notion that traumatic events in history must be experienced only in a state of grief. In Campbell's words, "McQueen suggests, Culloden must first be resurrected or remade as something other than tragedy in order to be historically impactful."

White gowns

The lace gown with veiled antlers – the Widow's Weeds – has provoked significant critical response, much of which focused on the theatrical and animalistic effect created by the headdress. McQueen later said that the look "worked because it looks like she's rammed the piece of lace with her antlers." Lisa Skogh wrote that the veil over the antlers suggested a "dramatic bridal crown". Watt described it as "creating a phantasmagorical hybrid beast-woman".

This dress has been discussed as a wedding dress in tandem with the chiffon gown worn by Moss. From this perspective, the antlered gown has been read as especially ambiguous: the veil can be seen as entrapping, protecting, or concealing the wearer. It has drawn comparisons to the wedding dress obsessively worn by the spinster Miss Havisham in the novel '' Great Expectations'' (1861).

Sarah Heaton, whose work focuses on the intersection between fashion and literature, described these two long white dresses in ''Widows'' as "revisionist" wedding gowns that evoke the Gothic to subvert its limitations. In her view, the lace veil uplifted on the antlers of McQueen's ensemble is reminiscent of Miss Havisham's wedding veil, but where Miss Havisham's veil is shroudlike and grotesque, the veil of McQueen's design "suggests the strength of femininity." The hologram of Moss, on the other hand, evokes the Gothic trope of the barefoot "mad woman"; normally this figure would be confined to an attic or asylum, but again McQueen subverts the expectation by displaying her to the public, making her ephemeral and uncontained.

Cultural theorist Monika Seidl considered the same pair of gowns from a more critical perspective in 2009, arguing that they framed their wearers "as trophy and...as victim." For Seidl, far from presenting feminine strength, the antlers in combination with the gamekeepers' clothing referenced earlier in the show evoked an image of the bride as a hunting trophy. She viewed the Moss illusion as presenting a contained "'' Wiedergänger''" or vengeful spirit. However, she called both dresses persuasive in the way they "destabilise the notion of a bride."

Other analyses

Posthuman theorist Justyna Stępień argued that McQueen's use of unusual silhouettes and structures, particularly in ''Widows'' and '' Plato's Atlantis'' (Spring/Summer 2010), provoked an emotional reaction in the audience and forced them to reconsider their perception of the human body.

Australian writer Cassandra Atherton described using several McQueen collections, including ''Widows'', in a university-level creative writing course to teach a connection between poetry and fashion, particularly how one can inspire the other. Literature professor Mary Beth Tegan described using ''Highland Rape'' and ''Widows'' together in 2021 as a teaching aid to engage university students in the short story " The Highland Widow" by Walter Scott (1827). She found that the "affective glamour of Gothic tale and fashion spectacle...roused my students’ interest and sustained their reflections" about both the story and the fashion.

Legacy

American actress Sarah Jessica Parker attended the opening of exhibition '' AngloMania: Tradition and Transgression in British Fashion'' (2006) at the New York Metropolitan Museum of Art (The Met) wearing a version of a tartan dress from ''Widows''. McQueen accompanied her wearing a matching tartan great kilt. Elizabeth McMeekin called it a "chic, tremendously of the-moment" choice.

The Victoria and Albert Museum (the V&A) in London owns a variant of the Kate Moss dress. Moss wore the original on the cover of the May 2011 issue of ''Queen (magazine), Harper's Bazaar UK''.

Fashion collector Jennifer Zuiker auctioned her McQueen collection in 2020, including at least two pieces from ''Widows''. A tartan dress, Look 30 from the runway show, sold for a reported $9,375, and a floral ballgown, Look 50, sold for a reported $68,750. The National Gallery of Victoria in Australia owns 14 ensembles and Mockup, mockups from ''Widows'', including the original Look 33 and Look 50. The majority of these were gifted by philanthropist Krystyna Campbell-Pretty.

Museum exhibitions

Several ensembles from ''Widows'' – at least five tartan looks, the pheasant feather dress, and the Widow's Weeds – 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. The Kate Moss illusion made an appearance at both versions of the exhibition. In the original presentation at the Met, the Moss illusion was recreated in miniature, but in the V&A restaging, it was presented in full size in its own room.

Items from the ''Widows'' collection also appeared in the 2022 exhibition ''Lee Alexander McQueen: Mind, Mythos, Muse'', first shown at the Los Angeles County Museum of Art and later in expanded form at the National Gallery of Victoria. The exhibition compared one sleeveless dress with high-necked ruff and gold beading from the ''Widows'' collection to the ruffed and embroidered outfit worn by Louis XIII, King Louis XIII of France in the painting :File:Portrait of Louis XIII, King of France as a Boy LACMA M.48.1.jpg, ''Portrait of Louis XIII, King of France as a Boy'' by Flemish painter Frans Pourbus the Younger, Frans Pourbus II (c. 1616). Two tartan ensembles from the runway show were compared to a 1780 portrait of Hugh Montgomerie, 12th Earl of Eglinton by John Singleton Copley. During the time the portrait was painted, the wearing of tartan in Scotland was prohibited except for soldiers and veterans by the Dress Act 1746, Dress Act of 1746. In Copley's painting, Montgomerie, wearing tartan, poses triumphantly over defeated Cherokee warriors. In reality, Montgomerie was not present at Battle of Echoee, the battle being depicted, which occurred during the Anglo-Cherokee War in 1760; nor was it a British victory. The exhibition presents the ''Widows'' outfits as a counterpoint to the Colonialism, colonialist narrative in the portrait.

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Production stills and concept art from designer Joseph Bennett

{{Alexander McQueen

British fashion
2000s fashion
2006 in Paris
Alexander McQueen collections