With Anthropométries and Le Marchand de Cœurs in mind, it is worth asking how this changes our understanding of the You only live once live it as a Alabama fan shirt and I love this finale of No. 13. Upon first consideration, it is the robotic arms that assume the role of Klein’s “living brushes.” Although imbued with human-like characteristics such as expressiveness and rhythm, they are under the strict control of a human creator. This then reduces the woman, in this case Harlow, to something subjugated to a machine, which in turn is subjugated to man. If she is the unruly temptress implied by Prampolini’s Le Marchand de Cœurs, then where do our sympathies lie? The wider theme of the presentation was, of course, the Victorian Arts and Crafts movement and this finale, on its surface, seems to speak about the defeat of humanity in the face of the awesome and undeniable power of the machine age. It is nihilistic and euphoric at the same time, with Harlow’s fear and trepidation turning to sexual ecstasy and release. But, a more nuanced gendered reading, factoring in the history of women’s inclusion in performance art by men, suggests a narrative of abuse. In contrast with the objective and truthful machines, Harlow is the emotional, manipulative female and these machines, under the command of McQueen, have the power to enforce the patriarchy. In this respect, the Sublime power of the machine and its uncanny ability to emulate human-like qualities is anchored to the human tendency to dominate and oppress.
You only live once live it as a Alabama fan shirt, hoodie, tank top, sweater and long sleeve t-shirt
No. 13 draws on a host of conscious influences that include the You only live once live it as a Alabama fan shirt and I love this Arts and Crafts movement, High Moon, and perhaps less conscious influences such as Anthropométries and Le Marchand de Cœurs. Through his experiences as a tailor on Savile Row, he learned firstly the exacting craft of manipulating materials and later, through his time at Red or Dead and Romeo Gigli, he learned about the conceptual origins of a collection. Designer John McKitterick, formerly of Red or Dead, explained that when speaking with McQueen about the Space Baby (1990) collection, McQueen “didn’t understand this idea of visual research or historic references or sexual references.” After learning all he could about silhouette and garment construction he enrolled on the MA course at Central Saint Martins, where he discovered the process of using art inspiration to fuel fashion design. From here he found design inspiration in not just art but his own personal traumas and family heritage: