Remembering Alexander McQueen’s What a Merry-Go-Round Collection: 20 Years Later

Image Courtesy: FORC Magazine

Alexander McQueen’s Autumn/Winter collection, What a Merry-Go-Round, debuted at the Gatliff Road warehouse in London on February 20, 2001, making this year its 20th anniversary. The presentation proved to be extremely significant for McQueen, for this was his last show to take place in his hometown of London before moving to Paris, he had just won the Designer of the Year at the British Fashion Awards for the second time the night before, and Gucci had purchased 51% of the company with the intent of expanding the label just two months prior. All eyes were on McQueen, and expectations were high. The fashion mogul had something to prove.

Said to have drawn inspiration from the film Chitty Chitty Bang Bang (1968), the Gatliff Road warehouse was complete with circus and carnivalesque decor and various set pieces on the night of the exhibition, including a full-sized and fully functioning merry-go-round adorned with latex covered horses and striped poles. However, the atmosphere quickly shifted from joyful, childlike, and kitschy to dark, unsettling, and macabre once the show began.

Models emerged exuding attitude, fierceness, and sex appeal, utilizing the many striped poles onstage to sensually present their articles of clothing to the audience. Nearly every model sported pale white skin, a bold lip, and finger waves reminiscent of the American flappers’ style during the 1920s. Contrasting the traditionally feminine hair and makeup was an array of structured two-piece suits, tailored blazers, patent-leather garments of various styles, and recurring motifs of skeletons on clothing and accessories. Military-inspired garb was sprinkled throughout, including headwear allusive to the French Shako and the German Pickelhaube, paired with the models marching onstage as if they were soldiers preparing to ride their latex horses into battle. Those not in tailored and structured clothing or military garb left little to the imagination. Alexander McQueen, known to show lots of skin, had his models appear in sheer and lightweight textiles such as satin, mesh, and lace in flapper-inspired silhouettes that draped delicately along with their bodies like intricate works of art.

The final act of the show was when the carnival came to life. Models wearing clown makeup began to rise from the dead, removing themselves from the cobwebs attaching them to the skeletons, dolls, and animatronic puppets inhabiting the stage. The models’ structured hair and intense makeup inspired by the film Child’s Play (1988) juxtaposed with the beautiful lace and satin gowns displayed on their bodies. One of the models possessed a gold, full-body skeleton attached at the ankle, dragging along behind her. Another was engulfed by black and orange balloons, which were then cut off and set free by the surrounding army of clown creatures.

Through his collection, McQueen managed to subvert expectations and the aesthetics of military inspired clothing, 1920s flapper fashion and more. McQueen’s trademark of intertwining art, fashion, and theatrics were ever so embraced and abundant in this collection that continues to inspire others 20 years later.

See each look from the collection here.

Strike Out,

Writer: Jayna O

Editors: Breanna Tang & Lexi Fernandez

Graphics: Olivia Glatzer

Tallahassee