The Mind Behind The Design - Alexander McQueen

By Deputy Fashion Editor Sinead Sheridan

Nostalgia, the perfect dopamine hit to the brain. Our childhood reminds us of a time with no responsibility and the seemingly endless source of freedom. Alexander McQueen’s fall/winter 2001 collection ranged from elegant to playful, the show was incredibly entertaining through many forms of theatrical methods yet it did not take away from the most important parts of the show, the fashion and the message. In an interview with Penny Martin in 2003, an insight into his thought process was uncovered. McQueen stated that the end product is precisely thought about. The final outcome of his designs are exactly what he imagined in his head, saying, ‘There is never no room for manouevre’. The attention to detail is purely astonishing, especially towards the visual arts. Films spanning from the 20’s to the 60’s were heavily referenced throughout the runway. For example there were actual looks based on ‘Chitty Chitty Bang Bang’.

There were flashing amber lights within the void of darkness. Hundreds of petite fluorescent bulbs twinkling in a continuous motion. The neon tangerine scene invoked mystery and wonder. Suddenly, the short lived quaint scene was interrupted by the laughter of children, enforcing an unsettling feeling onto all.The silhouette of a merry go round stood still. A large shadow of an unknown figure entered the left hand side as it heightened the long awaited participation, Alexander McQueens ‘What A Merry-Go-Round’ runway had just begun. 

The model confidently strutted down the runway demanding attention from all, the first look consisted of a simple silhouette of a shirt and tie. The pants were baggy but clung onto the calves creating a new fascinating concept for pants. The texture added a sense of depth to this look, the shiny patent leather made the look all the more captivating with its unique yet edgy approach. McQueen cleverly produced the first look to captivate the audience enough for them to want more, simplicity lined with edge.The show was gradual, each look becoming more and more comfortable within the theme. Before then, completely accepting the spiral of creative madness.

Each look embodied an impactful nature. The contrast of masculinity and femininity in each look was incredibly unique. Each model's hair and makeup was a nod to old Hollywood actresses, carefully constructed fingerwaves and dark vampy lipstick adorned each model perfectly. The painted faces and styled hair complemented each look as many silhouettes were inspired by the Hollywood era from the 1920s. The feminine hair and makeup was completed with outfits that were considered timeless, evident in the way McQueen kept the latest trends in mind that were popularized in 2001. Plunging necklines were seen all over the runways during this time, from well known fashion houses such as Gucci to Versace. This modern yet recurring trend throughout history came into the form of the flapper style. Clean cut professional wear dawned the runway, longer hemlines and power suits was a recurring theme.  As of spring/summer 2025, the idea of femininity and masculinity conveyed through clothing can be seen in the latest Yves Saint Laurent show. The women's fashion show composed of oversized suits fell loosely on the models fitting for the 2020s baggy trend.

The merry-go round began to twirl gently as circus music played softly in the background, the sharpness of the chords penetrating the crowd. Each model's elegant poses become more aggressive and dripped with an overwhelming sense of sex appeal. The walks and posing became more disjointed, the hair was becoming slightly more messy, a transformation was beginning to take hold. As the first part of the show finished, cheers erupted for part two. 

The cheers laced with excitement clashed with ear piercing bells and laughter. A collection of circus mannequins and toys were cluttered together, one item piled onto the next. Loud singing was heard as the spotlight embraced a puppet boy, his mechanical movements and surprising voice distracted  the audience as shadows appeared within the clutter.

Emerging from the darkness, the shadowy figures moved strangely. Their mannerisms were animalistic, preying. All at once, each clown revealed themselves. The hair was spiked and messy, cobwebs intertwined and hung loose from the hair. A great contrast to the glamorous waves seen before. The numerous faces were fully submerged in white clown makeup, details were inky black. Details such as exaggerated eyebrows and ‘tears’ were seen as each face portrayed different emotions from anger to sadness. As of the looks themselves, tulle and sheer fabrics were heavily used. Everything was bigger, the once bare necklines completely enveloped heavily with tall structures of tulle.

A clown attached with black and orange balloons made her way to the center stage, the orange and black orbs rose and rose before eventually being out of sight as each balloon was cut off. A golden skeleton clutched onto a clown's ankle as it was dragged amongst the chaos continuously. The imagery of the clowns was cleverly chosen, not just to fit into the circus theme but it also represents our childhood fears. Nostalgia is not just about the good, it can be terrifying.

As the show came to an end the designer himself, Alexander McQueen revealed himself and a rapturous applause swiftly followed. Mary Poppins' "A spoonful of sugar" blared, the final hint of childhood nostalgia being represented through song and film once again.