21st Jun, 2022 14:00

Passion for Fashion

 
Lot 407
 

An Alexander McQueen by Dai Rees headpiece for 'La Poupée (The Doll)', Spring-Summer 1997

formed from pink painted and glitter-encrusted denuded turkey feather quills, with leather strap and buckle to fasten, 74cm, 29in long

The show took place in the Royal Horticultural Halls in Victoria where the male and female models descended stairs to splash across a floor applied with black plastic pond liner which rippled with water. McQueen was inspired by the German artist Hans Bellmer’s 1936 work ‘La Poupée. Variations sur le montage d’une mineure articulée (The Doll: Variations on the assemblage of an articulated minor)' for which he took dolls and mannequins apart and fetishistically rearranged them. Bellmer’s photographic images explored the Surrealist view of the female body as the source of both fascination and revulsion. This notion of a perceived idea of beauty or ugliness also interested McQueen. Controversially, McQueen asked Shaun Leane to produce a metal framework which was clamped to the limbs of Debra Shaw which restricted her movement as she tried to progress along the catwalk. After the show the press corps tore into the designer whom they assumed had used the shackled black model to comment on either slavery or the subjugation of women when in fact it was neither.

Stella Tennant wore this particular head cage in the show – the visor of quills partially obscuring and enclosing her face, which had been painted with a visor effect in metallic make-up and glitter. She wore a catsuit with black jersey bodice - zips forming the neck opening, a slash across the front revealing the breast above bias-cut high trousers in magenta satin with asymmetric waistline.

It was worn a second time in the show by Jade Parfitt, wearing a white sequin dress with graffiti-style spray paint decoration.

‘La Poupée’ featured sharply-tailored pieces, suits, beaded flapper-style dresses, draped jerseys, metallics, satinised fabrics in a palette including white, black, pink and blue.

McQueen called upon another artisan to help realise his vision for the show. At Saint Martins Lee had become friends with a young Welshman studying ceramics called Dai Rees. One day walking in the park Dai had collected some feathers which he formed into headdresses. A friend advised him to show them to Katy England who was working at Dazed & Confused magazine at the time and so in August 1996 he went to their offices in Old Street to meet with her. As soon as she saw them she put in a call to McQueen as she thought they would be perfect for his upcoming show, but she didn’t give Dai’s name. When Dai took them round to the Hoxton studio Lee was surprised to see him and when Dai explained he had been sent over by Katy, Lee looked incredulous and asked ‘What, made out of ceramics?’ They laughed, but when Dai showed him the two feather headpieces formed from pigeon feathers he had picked up in the park – he loved them and both he and Isabella Blow (who happened to be there) immediately tried them on. Lee drew a sketch showing the proportions, colours and shapes he desired, stating:

‘I want head cages, something that simulates antlers, that gives the impression of half animal – half human.’

Lee gave him £200 to buy the materials and placed an order for four headpieces in pink, black, silver and brown and also requested twenty-five leather pieces including chokers and face adornments. When Dai explained he had never worked with leather before, McQueen encouraged him to try. McQueen was good at pushing artistic creatives to work outside their comfort zones as also evidenced by Shaun Leane’s work for him.

'It was brilliant working with Lee, it really pushed my work on', Rees said. ‘Without Lee’s trust in me I can honestly say my career would never have taken it’s then route. What a journey its been and is. A collaboration in the nineties that was built on both trust and bravado. We felt fearless and provocative. We had no agenda other than celebrating crude creativity in political environments of depression. We had nothing to lose but more importantly loved that we were alive’.

Dai recalled that after the show Lee became a little disgruntled as so many of the press images captured the headpieces rather than the full outfits. British Vogue, January 1998 featured Dai's work (including this headpiece) under the heading 'To Dai For'.

Dai Rees never went back to making ceramics and credits Lee Alexander McQueen for launching his career as a designer; within weeks of the show he received orders from 26 stockists all clamouring for his work and went on to produce showpieces for fellow Welsh designer Julien Macdonald.

This show also proved to be a catalyst for McQueen also as it brought him to the attention of LVMH who were looking for a new creative designer to take over at Givenchy when Galliano was moved to Dior in place of Ferré.

McQueen was made British Designer of the Year for the first time in 1996. Dai Rees’s headpieces were again worn by Stella Tennant and Jade Parfitt, who attended the ceremony.

Exhibited: ‘Savage Beauty’, Victoria & Albert Museum, 2015.

This headpiece has been photographed and reproduced in numerous magazines and newspapers including British, French and Italian Vogue.

Upon entrusting Kerry Taylor Auctions with this piece, Dai stated: ‘I would like to imagine its future wherever it may land, that its special history and marker of London [at a time] when anything seemed possible be now known and appreciated for perpetuity’.

Sold for £22,100

Buyer's premium: 25% (exclusive of VAT)


 

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Last updated: 23rd May 2014

 
 

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