The Birth of a New Age

An Analysis of Alexander McQueen Avante-Garde A/W 2009 “Horns of Plenty”

Figure 7

Abstract

The Birth of a New Age offers an in-depth analysis of Alexander McQueen’s Horns of Plenty Show Autumn/Winter 2009, focusing on the reinvention of Coco Chanel’s iconic tweed suit, the over-sexualization of women, and classism. By reimaging tweed and rejecting corsetry, McQueen explores the radical sophistication introduced by Chanel, which paved the way for new waves of fashion and feminism. Coco Chanel’s boyish silhouettes and renouncement of Victorian corsetry redefined the femininity of the 1920s, inspiring McQueen to explore these elements alongside themes of hypersexualization and class disparities. 

Chanel’s tweed suit sparked rebellion in feminist movements, fueling the bold power dressing of the 80s during the Second Wave of Feminism. Drawing from the overlap between Chanel’s legacy and the 80s power dress movement, McQueen incorporates exaggerated silhouettes and dynamic storytelling. Inspired by drag performer Leigh Bowery’s theatrical makeup and hypersexualized imagery, McQueen confronts the paradox of rebellion with the cyclical nature of beauty norms. Simultaneously, he empowers women by challenging societal norms and expectations, placing women’s sexualities at the forefront as something for women to define rather than society. In the backlash of the hypersexualization of women, The Birth of a New Age explores how the negative responses are tied to women’s identities and classism. 

The essay further examines McQueen’s use of sensualism, classism, and Chanel’s feminist undertones to redefine the contemporary woman of the mid-2000s. In doing so, the analysis explores how Horns of Plenty bridges historical and modern perspectives, offering a provocative commentary on identity, empowerment, and the complexities of societal expectations.

Under booming, techno music, a woman with smeared, oversized, red lips, slowly strides down the runway. She drowns in houndstooth from her oversized sunglasses to her high heels. With pouted lips glistening under the buzzing lights, her hand is tossed onto her hip effortlessly. The model fashions a fur, extravagant hat that sweeps across her forehead; the only piece spared from the houndstooth’s wrath. She captivates the audience, strutting alongside a pile of discarded luxury (fig. 7), embodying McQueen’s biting commentary on class, beauty, and sexualization. Her mannerisms, class, and makeup of lust and overdrawn lips captivate the crowd, infecting the Parisian streets with uproar and controversy. 

Techno-music ricochets within the walls of this transformed space, solidifying the “new age” of upper-class media. With signals of the reinvention of Chanel’s tweed suit, the over-sexualization of women, and classism, the House of Alexander McQueen never fails to stir the media with its gripping creations. 

Reinvention of Chanel’s Tweed Suit & Beauty Standards

Alexander McQueen’s Horns of Plenty collection reimagines Coco Chanel’s tweed suit, merging feminist symbolism and 80s power dressing. By renouncing Victorian corsetry, Coco Chanel redefined feminine power. Through exaggerated silhouettes, the Horns of Plenty Collection critiques the cyclical nature of beauty standards and societal expectations, reinventing the contemporary woman’s image. 

Figure 2

As the First Wave of Feminism began to fade, Chanel was still enriched with the notion of female empowerment, creating her first tweed suit in 1925 as seen in Figure 8. In the First Wave of Feminism, the movement advocated for white, middle-class women, paving the way for three later waves that would become inclusive for all transgender and biological women. McQueen’s collection echoes this notion of exclusivity of the First Wave of Feminism, using only white models that were the picture of the underweight beauty standard of the mid-2000s. 

As seen in Chanel’s creation, the tweed suit symbolizes class, luxury, sophistication, and empowerment, breaking away from Edwardian and Victorian restrictive garments such as corsets. In contrasting Chanel’s boyish silhouettes, rooted in Garconne, the ideal standard of beauty of the 1920s, McQueen distinguishes the lack of corsetry with an hourglass silhouette. In retaining the tightly tailored waist, full, & pencil skirts, and flared peplum bottom of jacket hems (figs. 2 and 3) of Dior’s New Look, McQueen provides a lens on modern-day beauty standards in the fashion industry. As seen in the models’ walks, McQueen also drew inspiration from Audrey Hepburn’s refined elegance in Givenchy, where he held the position of Creative Director early in his career. 

Figure 8

While McQueen reimagines Chanel’s abandonment of corsetry, he reinvents sophistication by infusing her tweed suits with a bold, contemporary twist. (fig. 8 and 9). The narrative of the designs reflects the symbolism that Coco Chanel’s tweed suits emanate, blending the rejection of corsetry with new age rebellionism. 

Figure 9

Chanel’s tweed suit, inspired by the First Wave of Feminism, would later become the foundation for the rebellious spirit of the Second Wave. 80s women would embrace exaggerated silhouettes to reflect authority and ambition, aligning with the silhouettes of the Horns of Plenty Collection. McQueen’s new-age version of Chanel’s sophistication is strong women, blending the fierce empowerment of 80s women through exaggerated figures. 

As seen in Figure 4, the large shoulders are a reminiscence of the exaggerated power dressing of the 80s, while Figure 5 exhibits McQueen’s adaptation of these silhouettes

in the collection. Women’s attire matched their fierce and ambitious attitudes, resulting in the flaring of necklines and the addition of shoulder pads, as seen in the Horns of Plenty Collection. In McQueen’s broadening of necklines and silhouettes, he feeds into these ambitious notions that 80s women embraced by magnifying their shapes. 

Figure 4

Figure 5

Fiercness is felt through the exaggerated classical silhouettes; a repetitive theme for Alexander McQueen in The Horns of Plenty. Alexander McQueen’s signature corsetry was traded for boxy silhouettes, houndstooth, striped patterns, and silk gazar. Boat-neck necklines stormed the runway (fig. 20). McQueen increased the height of the classical boat-neck silhouette, making it rise above the model’s frame (fig. 9). Adorned with silk organza bows, the high funnel necklines of the collection found inspiration from the classical turtle neck (fig. 23). The funnel necklines are more structured, wrapping around the necks of the models. In addition, the bodice silhouettes include strapless bustiers on mermaid silhouettes and bubble gowns (fig. 24).  Feathers cage Dior’s hourglass-inspired silhouettes of models, accentuating the hips as a use of padding (fig. 10 and 11). Exaggerated shawl necklines are meticulously sewn to hold their extravagant shape and show off the collarbones of their wearer. 

Chanel’s abdication of the corset paved the way for later reinterpretations of women’s power, as seen in the exaggerated silhouettes of 80s power dressing. McQueen bridges Chanel and 80s power dressing by blending Chanel’s elegance with the audacious ambition of the 80s. By balancing graceful authority and fierceness, it is here that McQueen gives a positive image of women of the 2000s. Yet, the collection ironically enforces the beauty standards of the mid-2000s with the use of exaggerated makeup, reminiscent of plastic surgery trends, and the prominences of the cinched waist. Despite the relinquishment of the corset, the collection further signifies that modern beauty standards still echo the standards of past women. In reflection, the collection shows that despite rebellion and abandonment of oppression, women adopt new forms of toxic beauty standards reinforced by society. 

Figure 10

With The Horns of Plenty Collection, McQueen valiantly redefined the contemporary woman, shattering boundaries of fashion and identity. His work unapologetically sparked controversy throughout online forums, fashion show reviews, and articles, forcing society to confront its contradictions surrounding femininity, sexuality, and class. Many accused McQueen of being a misogynist. Others accepted the rise of plastic surgery as female empowerment and saw McQueen’s sarcasm as lighthearted. Some even found political commentary in McQueen’s collection through his use of feathered sculptures and showpieces, as seen in Figures 10 & 11.

Figure 11

McQueen reinvents the contemporary woman by fusing Chanel’s feminist ideals with the bold ambition of 80s power dressing. In doing so, he creates a new identity for women that harbors both fierceness and sophistication. While McQueen redefines female empowerment, his adoption of cyclical beauty standards on the runway highlights the contradiction of modern beauty standards. The feathers, which encage the hourglass silhouettes, signify the fragility of women's insurrection against societal standards, echoing the cycle of rebellion and adoption of female beauty standards throughout history. McQueen’s Horns of Plenty serves as a reminder that while fashion often mirrors rebellion, it also mirrors progress and limitations of societal ideals, perpetuating a cycle of both empowerment and constraint.

Hypersexualization of Women 

In speaking of female sexuality, the over-sexualization of the models submerged the fashion industry into debates about whether Alexander McQueen was a feminist or not. In connection with the history of the abuse both McQueen and his sister experienced at the hands of her first husband, McQueen brings abuse and puts it at the forefront of the collection, rather than sweeping it under the rug. This action and inspiration are seen not only seen in the Horns of Plenty Collection but also in other collections such as The Highland Rape (1995). In response to being labeled as a misogynist, McQueen states- “I've seen a woman get nearly beaten to death by her husband. I know what misogyny is. I hate this thing about fragility and making women feel naïve…I want people to be afraid of the women I dress.” (McQueen, 2003). By placing sensualization at the forefront of the collection, McQueen uses fashion as a resistance against the female fragility stereotype. In doing so, he gives women the ability to take control of their sexuality. 

The eroticization of the models’ makeup and high-heeled shoe designs is inspired by Leigh Bowery. The drag-queen-inspired makeup poked fun at society’s enforcement of women’s beauty standards. The commentary aimed at middle-aged women is conveyed through exaggerated makeup (fig. 6) and storytelling. Bowery’s reconstruction of Oscar Wilde’s shameless flamboyance, excess, and wealth filled the streets of London in the 1980s. McQueen found Bowery’s work perfect for expanding on his ideas of Chanel’s tweed suit and sophistication, while also exploring female sexuality in the fashion industry. 

Figure 6

Figure 14

Leigh Bowery’s effect on the makeup in Horns of Plenty is seen in Figure 6 and Figure 14. Used as a trademark for his looks, Bowery’s overdrawn bright red or deep black lips created personas for self-expression. By drawing inspiration from Bowery’s lips, McQueen is creating personas on the runway as well, telling stories for the audience to dissect. These personas act as physical manifestations of the societal expectations of women’s bodies. By incorporating Bowery’s overdrawn beauty, McQueen critiques society’s ideals of femininity, directly opposing the female fragility stereotype. The adoption of Bowery’s exaggerated makeup forces viewers to confront how the media and fashion play a role in reinforcing unattainable beauty standards. In doing so, Bowery’s makeup challenges viewers to reevaluate what true empowerment looks like and what the negative implications of these standards are when unattainable. In addition, the usage of pattern, silhouette, and excess fabric on the hips of Figure 1 can also be attributed to Leigh Bowery, not solely Dior (fig.1 and fig.13).

Figure 13

Figure 1

Despite the collection’s intention to rebel against conventional beauty standards, critics such as Sarah Mower, a Vogue fashion journalist and critic, found McQueen’s depiction of hypersexualized women troubling. In rejecting McQueen’s objectification of women, she stated, “...[some] found his picture of women with sex-doll lips and sometimes painfully theatrical costumes ugly and misogynistic” (Mower), (fig. 6 and fig.14). Mower is an example of the tension between McQueen and women. His attempt to reinvent female empowerment expressed a fine line between reinforcement of damaging beauty standards and female sexual liberations, igniting strife in the media. 

McQueen’s use of hypersexualization in The Horns of Plenty forces viewers to confront the relationship between female objectification and empowerment in the fashion industry. By presenting women who defy traditional notions of fragility, McQueen’s Horns of Plenty critiques the hypersexualized portrayal of women. Ironically, in implementing this hypersexual imagery, the collection paradoxically highlights the arduous struggle of achieving sexual liberation without reinforcing exploitation. 

Historical Parallels and Odes to Classism

When reviewing the public’s reaction to the sexual elements of the 2009 fashion show, issues of classism emerge. The model cast, whose faces are powdered white, strut to contemporary beats, adopting Victorian Era themes. The outcry of over-sexualization of women is not new, however, the backlash that McQueen received from upper-class women specifically cannot be ignored. 

In the mid-2000s, the sexualization of women was developing throughout the media. The idea of sexy was still prevalent from the era of the 90s supermodel, which still echoed throughout the 2000s fashion scene. McQueen was not the only one to adopt the trend of sexuality, so what made his collection so controversial? 

Figure 15

In reviewing Élisabeth Louise Vigée Le Brun’s “Marie Antoinette in a Chemise Dess” (1738), parallels can be seen in both the reaction of the painting and McQueen’s Horns of Plenty Collection (fig. 15). Austrian-French Queen Marie Antoinette faced enormous backlash for her scandalous chemise dress, depicted in an oil painting and debuted at a public salon. The portrait did not indicate Antoinnette’s royal status, and the dress was seen as undergarments. Despite this, other lower-class women adopted the now-popular chemise dress and wore it publicly. This wasn’t seen as Queen attire; expectations were exemplified for her due to her high status. For comparison, there are other women in even more relaxed and casual poses compared to Marie Antoinette in Figures 16 and 17, who did not face negative critique. The same backlash of the objectification of high-class women with known public identities was also seen with Pauline Bonaparte Borghese and Virginie Amélie Avegno (fig. 18 and 19). 

Figure 16

Figure 17

Figure 18

Drawing from historical examples such as Marie Antoinette, McQueen rebels against the same societal structures that enforce limitations on class and gender. Just as Marie Antoinette’s public image was molded by her high status, McQueen's collection interrogates the sexualization of women with high status and wealth. McQueen satirizes the sexualization of middle and upper-class women, challenging society’s portrayals of purity and refinement. This is important because it allows models to take control of their societal portrayal, empowering them to define their own identity. As the models take hold of their sexuality, there is the erasure of the perceived traditional sophistication of upper-class women that Chanel had strengthened with her tweed suit. McQueen shatters the notion of upper-class women’s “pure” status, therefore “degrading” them in the eyes of society. The backlash illustrates that hypersexualization is exceptionally a problem when it comes to women with money, status, and wealth. 

The Horns of Plenty Collection encompasses a variety of themes such as the reinvention of Chanel’s tweed suit, the over-sexualization of women, and classism. McQueen’s contemporary take on Chanel’s tweed suit reimagined new-age rebellion in the collection’s lack of corsetry, however, juxtaposition the creations with modern beauty standards. McQueen’s blunt mirror on the contemporary sophistication of women in the mid-2000s reflects on the complex relationship that women have between revolution and society’s paragon of beauty. McQueen captures this reflection by creating a physical metaphor of the cycle of oppression and rebellion on the runway. In addition, the 2009 collection explores themes of the hypersexuality of women and the backlash that followed based on upper-class status. The hypersexualized makeup and headpieces, both mock the artificiality of plastic surgery and beauty trends of the mid-2000s, sarcastically challenging the standard of upper-class women. After delving into themes that the collection has had in fashion and art movements, Alexander McQueen’s impact on society due to The Horns of Plenty Collection is indelible.

FIGURES

Figure 1

The New Look

Note: Dior’s New Look consisted of soft, padded shoulders and fitted sleeves. With exceptional detailing that accentuated the femininity of the 1940s, the creation popularized the hourglass figure. The full skirt consists of 23-27 yards of fabric gathered into a waistband. 

Figure 2

Look 1, Horns of Plenty A/W 2009 Show

Note: The model of Look 1 in the Horns of Plenty Show fashions a silhouette inspired by Dior’s New Look as seen in Figure 1.

Figure 3

Look 2, Horns of Plenty A/W 2009 Show

Note: The model of Look 2 in the Horns of Plenty Show fashions a silhouette inspired by Dior’s New Look as seen in Figure 1. 

Figure 4

Look 3, Horns of Plenty A/W 2009 Show

Note: The model of Look 3 in the Horns of Plenty Show has a boxy silhouette and shoulders that recall the exaggerated figure of 80s power dressing.

Figure 5

Joan Collins was famous for the look when she was on US soap Dynasty

Note: Joan Collins, an English actress, wore shoulder pads that were popular in the 80s during the power dressing movement.

Figure 6

Detail Look 49, Horns of Plenty A/W 2009 Show

Note: A closeup of the overdrawn lips that many believed objectified women. Many in the meida, such as Sarah Mower, believed that McQueen made the models look like sex dolls, therefore degrading the status of women.

Figure 7

Horn of Plenty, Alexander McQueen, Autumn/Winter 2009

Note: According to Joseph Bennett, photographer for Alexander McQueen- “McQueen’s idea of deconstructing work from previous shows to create a blackened, oily junkyard aesthetic. The floor resembles a smashed mirror which represents, what British production designer Joseph Bennet would describe as, the “resurrection from pollution” (Bennet, 2005).   

Figure 8

Chanel house model Marie-Hélène Arnaud in a Chanel tweed suit from the autumn/winter 1959 collection. © CHANEL

Note: Coco Chanel’s 1925 tweed suit popularized the boyish silhouette and abandoned the Victorian and Edwardian Era corsetry.

Figure 9

Look 8, Horns of Plenty A/W 2009 Show

Note: Look 9, inspired by Chanel’s tweed suit (fig. 8), has a flared shawl neckline. The houndstooth creates a new twist on the classic tweed suit.

Figure 10

Look 44, Horns of Plenty A/W 2009 Show

Note: Look 10 encompasses the silhouette of Dior’s New Look (fig. 1), with the use of feathers.

Figure 11

Look 45, Horns of Plenty A/W 2009 Show

Note: Look 11 encompasses the silhouette of Dior’s New Look (fig. 1), with the use of feathers. The exaggeration of the hourglass figure can be attributed to Leigh Bowery (fig. 13).

Figure 12

Leigh Bowery A

Note: A photograph of performer Leigh Bowery and his overdrawn lips and dramatized makeup look.

Figure 13

Leigh Bowery B

Note: A photograph of performer Leigh Bowery and his hourglass figure, inspired by Dior’s New Look (fig. 1).

Figure 14

Sex Doll Paradise

Note: A sex doll with oversized lips, aligns with the overdrawn lips in Figure 6.

Figure 15

“Marie Antoinette in a Chemise Dess”

Note: Élisabeth Louise Vigée Le Brun’s “Marie Antoinette in a Chemise Dess” sparked controversy in France. The public backlash was due to Marie’s high status as queen, lack of patriotism, and that fabric chemise was seen as undergarments.

Figure 16

Self Portrait in a Straw Hat

Note: Élisabeth Louise Vigée Le Brun’s self-portrait of herself. Dressed in a similar chemise dress as Marie Antoinette in Figure 15, Le Brun is in a more relaxed pose than Antoinette. She shows more skin and engages in activities that are not of the typical woman of the period.

Figure 17

The Straw Hat

Note: Peter Ruben’s “The Straw Hat” depicts a French woman bearing her chest provocatively for the period.

Figure 18

Portrait of Madame X

Note: Jonn Singer Sargent’s portrait of Madame X ignited controversy for depicting Virginie Amélie Avegno Gautreau sensually. By painting Gautreau’s dress strap hanging off of her shoulder, Sargent exemplifies Virginie Amélie Avegno Gautreau’s sexual identity to the public as a high-standing, influential figure.

Figure 19

Pauline Bonaparte as Venus Victrix

Note: Antonio Canova’s “Pauline Bonaparte as Venus Victrix” depicts the sister of Napoleon Bonaparte in a semi-nude, neo-classical sculpture. Pauline Bonaparte received excessive backlash taking control of sexual identity as a prominent figure in Italian society.

Figure 20

Look 9, Horns of Plenty A/W 2009 Show

Note: Look 9 of the Horns of Plenty A/W 2009 Show depicts a classical boat neckline. 

Figure 21

Look 31, Horns of Plenty A/W 2009 Show

Note: Look 31 of the Horns of Plenty A/W 2009 Show depicts an exaggerated classical boat neckline. The neckline is raised above the figure to create commentary.

Figure 22

Look 33, Horns of Plenty A/W 2009 Show

Note: Look 33 showcases a more structured version of the turtle neck.

Figure 23

Look 12, Horns of Plenty A/W 2009 Show

Note: Look 12 inspired by a turtle neck and high funnel neck, is adorned with a silk-organza bow structure at the neck.

Figure 24

Look 40, Horns of Plenty A/W 2009 Show

Note: Look 40 has a construction of a strapless bustier on a mermaid silhouette. 

Figure 25

Look 29, Horns of Plenty A/W 2009 Show

Note: Look 29 has a shawl neckline that is flared open. By still retaining its structure, the silhouette creates a swooping motion to exaggerate the garment.

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