The next two themes of the Alexander McQueen:Savage Beauty exhibition are called Romantic Exoticism and Romantic Primitivism. The former is an ode to McQueen’s Chinese cut and construction. It houses the heaviest look in the exhibition, his oyster shell dress, and also includes pieces from one of my favorite shows, his spring/summer 2005 collection entitled It’s Only a Game, where he simulated a game of chess with his 36 models. The featured collection of the Romantic Exoticism section is his spring/summer 2001 show dubbed VOSS.

The fifth theme of the exhibit is called Romantic Primitivism and explores McQueen’s love of Africa and nature. Although his clothes were works of art, his pieces were often handmade and comprised of natural materials. The featured collection in this portion of the exhibit is his spring/summer 2003 show entitled Irere, otherwise known has his Pirate Collection. In Irere he drew inspiration from a shipwreck and the various creatures one would associate with the sea. Enjoy!…

In honor of my countdown to the 2011 MET Gala, which is a week from tomorrow, below is the final installment of Lady Gaga’s performance from last year’s party. My mom and I have already started making predictions for who we think Ms. Wintour has deemed worthy enough to serve as entertainment this year; I say Florence + The Machine while my mom is thinking Katy Perry… Who do you think?? We shall find out next Monday!

I thought I would take a quick break from my Andrew Bolton interview segments to share with you one of my favorite pieces from Paris. Not only is Eddie Borgo an incredible jewelry designer but he is also a very close friend. This past March he brought his Fall 2011 collection with him to Paris Fashion Week and had a great space to showcase all of his amazing new pieces. Eddie was nice enough to have me over to take a look at his newest collection and even discussed where his inspiration came from for these naturalistic jewels. Take a look below at what he had to say…

Here are some pics of Eddie’s Parisian showroom…

Eddie Borgo Fall 2011

Eddie Borgo Fall 2011

Eddie Borgo Fall 2011

Eddie Borgo Fall 2011

This series was my favorite of the collection… It’s the absolute perfect red, no??

Eddie Borgo Fall 2011

If I had my ears pierced you wouldn’t be able to get these green tassels off of me!…

Eddie Borgo Fall 2011

The third installment of my sit-down with Andrew Bolton spotlights the portion of the catalogue and exhibit entitled Romantic Nationalism. This theme, again, focuses on McQueen’s love of history, specifically his Scottish heritage and homeland of England. The 18th century-inspired dress Sarah Jessica Parker wore to the MET Gala 5 years ago as McQueen’s date has returned to the museum in this section as well as countless pieces from his Fall/Winter 2008 collection entitled The Girl Who Lived In The Tree. I can’t wait to see the Kate Moss hologram along side the runway version of the dress she wore and the featured collection, Highland Rape.

Below is part two of my sit down with Curator at The Costume Institute, Andrew Bolton. This second theme, entitled Romantic Gothic, in both the catalogue and exhibition focuses on how McQueen was continually inspired by the Romantic Movement of the 19th century as well as Dior’s New Look in the mid 20th century. The raven-esque dress that opens the second chapter of the exhibition was taken from his Fall/Winter 2009 show dubbed The Horn of Plenty which was my first ever Alexander McQueen show. I’ll never forget the monstrous red lips painted on the model’s faces, the Isabella Blow head pieces, or the final two dresses. The second to last was an ‘egg dress’ and the finale piece was the raven. It was as if the former hatched backstage and the raven took its first steps out on the runway… Quite the sight. Enjoy!

Two weeks ago in New York I was lucky enough to sit down with Andrew Bolton, Curator at The Costume Institute at the Metropolitan Museum of Art, and Nancy Chilton, Advisor and Press Officer. Andrew took me through the unbelievable catalogue of the upcoming Alexander McQueen: Savage Beauty exhibition, opening to the public on May 4th. The book, like the exhibit, is comprised of seven themes that highlight various aspects of McQueen’s revolutionary design and construction. The catalogue opens with a print from McQueen’s Spring 2009 collection, entitled Natural Selection, and an essay by Susannah Frankel, a London based journalist, who, as Andrew states, is dubbed McQueen’s unofficial biographer. All of the photographs inside are done by photographer Solve Suundsbo and almost every piece is accompanied with a McQueen quote, as if he is narrating. Andrew taught me so much about McQueen in the time we were together and shared such interesting details regarding the layout and design of the book.

A big thank you to The Costume Institute for putting out such a beautiful catalogue paying homage to the brilliant Alexander McQueen. Take a look below at Andrew sharing part one of the book, entitled The Romantic Mind, which corresponds to the first theme of the exhibition… I can’t wait to see all of the pieces in person come the MET Gala on May 2nd! More to come…


A quick thank you to everyone at I-Ella for making me the featured insider on their site today! You can take a look at some items I donated, shop my closet and contribute to a really great cause called The Glass Slipper Project all with the referral code MINNIEMUSE. Check it out!

I-Ella Home

I-Ella Closet

Here are two of my favorite moments from Paris Fashion Week and they both happen to be taken from the Dior show. The first is Sidney Toledano’s speech. I’m sorry the quality is so poor (I’m working on finding a new camera) but I think the words in this instance are what really matter. If you are like me, and don’t speak French but wish you did, I’ve included a translation below. The second video was my absolute favorite memory from Paris. When the 30+ seamstresses and craftsmen of the Dior atelier closed the show the room was filled with emotion. It was one of those moments that a photograph simply couldn’t do it justice.

Since its founding by Monsieur Dior, the House of Christian Dior has lived an extraordinary and wonderful story and has had the honor of embodying France’s image, and its values, all around the world.

What has happened over the last week has been a terrible and wrenching ordeal for us all. It has been deeply painful to see the Dior name associated with the disgraceful statements attributed to its designer, however brilliant he may be.

Such statements are intolerable because of our collective duty to never forget the Holocaust and its victims, and because of the respect for human dignity that is owed to each person and to all peoples.

These statements have deeply shocked and saddened all at Dior who give body and soul to their work, and it is particularly painful that they came from someone so admired for his remarkable creative talent.

So now, more than ever, we must publicly re-commit ourselves to the values of the House of Dior. Christian Dior founded his House in 1947.

His family had been ruined in the Crash of 1929 and his own beloved sister had been deported to Buchenwald. In the aftermath of the dark years of the war, he sought to free women, to give them back their sparkle and joyfulness.

Christian Dior’s values were those of excellence in all that he undertook, of elegance and of craftsmanship reflecting his unique talent. His mission was not only to make his clients — indeed all women — more beautiful, but also to make them happy, to help them dream. He saw himself as a magician who could give women confidence and make them ever more feminine, more sublime. He believed in the importance of respect and in the capacity of this fundamental value not only to bring out the beauty in women, but also to bring out the best in all people.

His values, his genius and his legacy have contributed to enhancing France’s image and culture around the world for more than sixty years.

The values that Monsieur Dior taught us are unchanged today. Those values are carried on by the wonderful and diverse group of people within the House of Dior who devote all their talent and energy to achieving the ultimate in artisanship and femininity, respecting traditional skills and incorporating modern techniques.

The heart of the House of Dior, which beats unseen, is made up of its teams and studios, of its seamstresses and craftsmen, who work hard day after day, never counting the hours, and carrying on the values and the vision of Monsieur Dior.

What you are going to see now is the result of the extraordinary, creative, and marvelous efforts of these loyal, hardworking people.

Thank you.”

Seamstresses and Craftsmen