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“Coiled Corset,” Shaun Leane for Alexander McQueen, Fall/Winter 1999

Kate Bethune

Source: Fashion Photography Archive 2015

Article

The “Coiled Corset” is an example of radical body adornment made by jeweler Shaun Leane for fashion designer Alexander McQueen’s collection “The Overlook” (fall/winter 1999). Leane, who originally trained as a jeweler and goldsmith, first worked with McQueen in 1995, when he made silver watch chains for his “Highland Rape” collection (fall/winter 1995). His creative collaborations with McQueen soon propelled him to work with new materials and on a much larger scale to create elaborate body sculpt

Vivienne Westwood, Red Label, Fall/Winter 1999

Lucy Moyse

Source: Fashion Photography Archive 2015

Article

Quirky, colorful, and colliding: with its juxtaposed styles, influences, and prints, Westwood created a discordant harmony in her fall/winter Red Label collection of 1999. It was the sixth collection that Westwood had produced for her Red Label line, and it was a rapid departure from those of other designers that season. Among Westwood’s peers, the key trends were plain fabrics and creamy, muted colors; Westwood clashed brights, checks, and prints. In contrast to the clean, understated, minimalis

Phillip Treacy, Spring/Summer 1999–2000

Victoria Rose Pass

Source: Fashion Photography Archive 2015

Article

Milliner Phillip Treacy’s show for London’s spring/summer fashion week on 22 February 1999 played with anthropomorphic shapes that obscured the head and face. While a few designs had their basis in top hats, or fedoras, many more were based on entirely novel forms, from dinner plates to Alexander Calder mobiles. Models such as Grace Jones, Naomi Campbell, and Alek Wek walked with glittering makeup painted over one half of their face, obscuring recognizable features when the lights of the catwalk

Polo Shirt, Ralph Lauren, Spring/Summer 1999

Jaclyn Pyper

Source: Fashion Photography Archive 2015

Article

An item of clothing with its origins in sportswear, the polo shirt (also known as the golf shirt or tennis shirt) has since been adopted by many designers and included in catwalk collections. The roots of the polo shirt can be traced to polo players in the late 1800s, and the style was later adapted for the tennis courts by René Lacoste in the 1920s. A symbol of preppy, collegiate style by the latter half of the twentieth century, the polo shirt continues to be used and adapted by designers, ofte

Ungaro, Fall/Winter 1999

Vanessa Semmens

Source: Fashion Photography Archive 2015

Article

Ungaro’s fall/winter 1999 collection was a departure from the designs he had been known for in the 1980s and early 1990s. It had more of a hippie feel than his previous collections; however, it still had the luxury that was associated with the brand. Ungaro’s show was judged to have successfully achieved a balance between commerciality and the craft of the couturier.

Vivienne Tam, Spring/Summer 1999

Nadya Wang

Source: Fashion Photography Archive 2015

Article

Vivienne Tam (born 1957) is a New-York based designer who was born in China and grew up in Hong Kong. Her work has been a continuous experimentation in mixing and matching visual languages from the East and the West. Tam’s presentation for the spring/summer 1999 runway shows off her signature bilingualism, with images including Guanyin, the goddess of mercy, and the lotus flower combined with a relaxed, sporty style seen through the repeated use of windbreaker jackets in various prints and colors

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