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Alexander mcqueen’s reasons for success?

Cheap women McQueen shoes had many success factors and many factors that laid the groundwork for his sky-high designs.1.Family backgroundBoth parents were from Old London, his father was Scottish, and his mother’s obsession with history and identity deeply influenced McQueen.2.InterestsMcQueen loved birds and swimming.3.Luck, chance, hard workAlexander McQueen was born on March 17, 1969, in Stephanie, East London, and was the family The youngest of six children, he was born into a family of taxi drivers and social science teachers and grew up in a council flat. Young McQueen’s creativity, thoughtfulness, and keen fashion sense led him to draw a Cinderella in a beautiful quilt on the wall of his sister’s bedroom when he had three strokes, and he developed a strong eccentric streak that kept him an outsider at home.

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He was scorned by his father and ridiculed by his schoolmates for being open about his homosexuality at a very young age, except for his mother, Joyce, who encouraged him. Leaving the world. The following year, after watching a television advertisement about the shortage of apprentices in the sewing business, he walked into Sam & Shepherd’s in Savile Row, where he was tailoring for Prince William, and was hired on the spot. It was there that his artistic aesthetic really began to develop, and McQueen’s natural ability with chalk and scissors soon led him to break away from the traditional tailoring and silhouettes of menswear and back to 16th century style tailoring, which continued to influence the body of his work.

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Despite living in one of the most conservatively tailored corners of the world, he found room to express, explore and practice his rebellious nature, for example, when he earned notoriety by sewing offensive and insulting slurs into the lining of the jacket he was tailoring for Prince Charles at Anderson & Shepherd’s, as if by fate, a decade later in 2001, Prince Charles responded to McQueen’s “He was invited to present McQueen with an award at the third annual British Designer of the Year Awards. McQueen then left Anderson & Shepherd to work at Gieves in the same street, and then at Angus & Berman, a theatrical costume brand that would later influence McQueen’s work, which was exaggerated, grand and theatrical in style, to the acclaim of pop stars and musicians alike.

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A quote from McQueen: “I’m from Savile Row. One of the things I learned when I was 16 was that if you wanted to change menswear, you had to be like an architect and focus on tailoring and proportions. You can’t (in defiance of tradition) make a man wear something like a jumpsuit. I’ve made that mistake before and have done a lot from it. If you want to break the rules, you have to learn the rules first. That’s what I’m trying to do: break the rules, but keep the tradition. You’ve got to build on what’s gone before, and we can’t stay stuck in 1930s England, sewing checkered suits in their entirety and selling them to people who have to go hunting at the weekend. Let’s face it.”

The first thing you need to do is to look at the fashion show and see if it’s a good idea to have the courage to do it. Photographers, journalists are familiar with the name. He’s never been more ambitious.” — McQueen’s ultra-low-waist pants have a hip-baring waistline five centimeters lower than the ultra-low-waist pants and are coated with rubber on the inside. McQueen explained to the BBC: “The traditional proportions of the body, changing what we normally think women should look like.” “I always want to challenge the proportions. I’m only doing this to lengthen the upper legs and change people’s views on proportions. Usually people will want to lengthen the leg line, but I wanted to lengthen the upper body line.” “For me, that part of the body – not the hips, but the end of the spine – is the most provocative part of people’s bodies, both men and women” just A few brief examples of McQueen’s success, with a final quote: “McQueen did something that is rarely done in fashion – he introduced something new in the early 1990s, and when transparent feminism had been in vogue for too long and was being discarded, he brought in the ultra-low-waist hip-hugging pants, which became the High Street fashion; he reawakened a love of the craft of women’s tailoring that had been long neglected; he brought in the dress suit; he unobtrusively incorporated men’s style into women’s; and most importantly, he experimented with different silhouettes, playing confidently with proportions, taking the emphasis off the waist, filling in the hips, and spiral cutting along the body.” –Judith Watt

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