The Man Who Knew Too Much (Alexander McQueen collection)
The collection's clothing and runway show both lacked McQueen's signature theatricality, and critical reception at launch and in retrospect was negative.
[1][2][3] During his nearly twenty-year career, he explored a broad range of ideas and themes, including historicism, romanticism, femininity, sexuality, and death.
[19][20] Author Judith Watt also suggested some inspiration from the Pearly Kings and Queens of London, known for their distinctive suits covered in mother-of-pearl buttons.
[26][17] The daywear portion of the collection mainly featured tailored tweed suits with pencil skirts, cocktail dresses, and knitwear in sixties mohair and Fair Isle styles, shown with slim-fit trousers and jeans with cuffs.
[14][21][27] Look 22, a jacket, top, and pencil skirt in wool bouclé and cashmere, is a clear homage to Tippi Hedren's outfit from The Birds, a reference McQueen had deliberately avoided making in the earlier eponymous collection.
[28] The eveningwear portion comprised 1950s-inspired ball gowns, including a red one with a voluminous mermaid skirt that evoked the designs of Charles James.
[21] Ensembles were rendered with feminine 1950s details and accessories like sunglasses, pearl jewellery, leather gloves, handbags, seamed stockings, and matching shoes.
[14][17] The soundtrack comprised selections from the 1950s and 1960s, including songs from Johnny Kidd & the Pirates, Alan Vega, Dusty Springfield, Elvis Presley, and Martha and the Vandellas.
[30] Katy England took care of overall styling, Guido Palau was responsible for hair, and Peter Philips handled makeup.
[23][19] Model Hannelore Knuts walked with backcombed bleach-blonde hair, red lipstick, and a false beauty mark, recalling the iconic style of Marilyn Monroe.
"[34] Writing for Vogue, Sarah Mower was disappointed that the collection mainly showcased safe ideas McQueen had explored before, although she felt the results were solid.
[21] In her 2015 book Gods and Kings, Dana Thomas called it a "soulless exercise" indicative of McQueen's late-career malaise, and mentioned it only to opine that it was a "far more literal" interpretation of Hitchcock than The Birds had been.
[21][37] She also speculated that the straightforward design of the Fair Isle sweaters may have been intended as a lead-in for McQ, the brand's upcoming diffusion line.
[21] Gleason suggested the rising economic influence of teens may have prompted McQueen to include youth-friendly garments like patterned sweaters and cropped jeans.
McQueen referenced several of the director's films throughout his career, exploring what O'Neill called "representations of femininity and how they are challenged through transformation scenes".
[38] O'Neill thought the collection "distilled the Hitchcock blonde" across many looks, rewarding repeat viewing in a manner akin to film.
[17] He considered McQueen's interpretation of Hedren's ensemble to be "more faithful" to the costume designer's original sketch than what appeared in the film, labelling it "a doppelgänger".
Paolo Roversi photographed Look 8, a black minidress with lace back, and Look 48, the beaded finale dress, for the December 2005 issue, in a shoot McQueen styled himself.
