Jack the Ripper Stalks His Victims is the first collection by British designerAlexander McQueen, produced as the thesis collection for hismaster's degree in fashion atCentral Saint Martins (CSM) art school.
The collection's narrative was inspired by the victims of 19th-century London serial killerJack the Ripper, with aesthetic inspiration from thefashion,erotica, andprostitution practices of theVictorian era. The collection was presented on the runway atLondon Fashion Week on 16 March 1992, as the second-to-last of the CSM graduate collections. EditorIsabella Blow was fascinated by therunway show and insisted on purchasing the entire collection, later becoming McQueen's friend andmuse.
Jack the Ripper remains an object of critical analysis for its violent concept and styling. McQueen held on to the narrative and aesthetic tendencies he established inJack the Ripper throughout his career, earning a reputation for producing narratively-driven collections inspired bymacabre aspects of history, art, and his own life. Items fromJack the Ripper, including a pinkfrock coat with a thorn print, have appeared in the retrospectivesAlexander McQueen: Savage Beauty (2011 and 2015) andIsabella Blow: Fashion Galore! (2013).
British designerAlexander McQueen (born Lee Alexander McQueen; 1969–2010) was known in the fashion industry for his imaginative, sometimes controversial, designs and dramaticfashion shows.[1][2] McQueen had a lifelong fascination with history, sexuality, violence, and death, which he translated into his designs from the beginning of his nearly twenty-year career to the very end.[3][4][5] McQueen's work was highlyautobiographical: he incorporated elements of his memories, feelings, and family history into his designs and runway shows.[6][7] In his early career, McQueen was often accused of misogyny for his extreme designs, a characterisation to which he consistently objected.[8][9][10]
The son of a Londontaxicab driver and a teacher, McQueen grew up in one of the poorer neighbourhoods in London'sEast End.[11] His upbringing was traumatic: he was a victim ofchildhood sexual abuse and witnessed his sisters experiencingdomestic violence from their partners.[12][13] He began his career in fashion in 1984 as an apprentice withSavile Row tailorsAnderson & Sheppard before briefly joiningGieves & Hawkes as apattern cutter.[14][15] His work on Savile Row earned him a reputation as an expert tailor.[16] McQueen left Savile Row in 1988, and spent the next two years in various entry-level positions in fashion. He worked briefly for the theatrical costumiersAngels and Bermans.[17] In 1989, at the age of 20, he was hired by experimentalMayfair-based designerKoji Tatsuno.[18][19] He next worked under designerJohn McKitterick, gaining experience withfetishwear; first atRed or Dead, then at McKitterick's own label.[4][18]
McQueen sought further experience in the industry, and McKitterick recommended he try for an apprenticeship in Italy, then the centre of the fashion world.[20] From March to July 1990, McQueen worked inMilan at theatelier of designerRomeo Gigli.[21][22] After resigning, he returned to McKitterick's label in London by August.[23] When McQueen expressed interest in learning more about the fashion industry, McKitterick suggested he seeBobby Hillson, the founder and head of themasters course in fashion at London art schoolCentral Saint Martins (CSM).[24][25]
McQueen turned up at CSM with a pile of sample clothing and no appointment, seeking a job teaching pattern cutting.[17][26] Hillson considered him too young for this, but based on the strength of his portfolio – and despite his lack of formal qualifications – accepted McQueen into the eighteen-monthmasters-level fashion design course.[27][25] Unable to afford the tuition, he borrowed £4000 from his aunt Renee to cover it.[28][29] McQueen met a number of his future collaborators at CSM, including Simon Ungless, a friend and later roommate.[4][30][31]
CSM students at the master's level were expected to produce a graduation collection of at least six outfits as theirthesis.[32] McQueen told Hillson that he intended to present clothing that was distressed and stained, so the models would look like survivors of a violent attack.[33] Although Hillson was dubious about the idea, she agreed to mentor him. Among other things, this meant quietly providing him with quality fabric from the CSM stores. He could not afford to buy his own, and lower-quality fabric would not have withstood the level of distressing McQueen was applying.[33]
Students were required to provide a marketing report with their collections, outlining the rationale andbusiness case for their designs.[34][35] McQueen instead presented a narrative which described how his mother's study ofgenealogy led him to discover that a distant relative of his had owned an inn and rented a room to one of Jack the Ripper's victims, although his professors doubted the story.[a][34][37][38] CSM professorLouise Wilson, with whom McQueen had a contentious relationship, told authorAndrew Wilson that the cover of the report was decorated with McQueen'spubic hair.[39] The report was, at some point, stolen from Wilson's office; she suspected that McQueen himself was responsible.[35]
McQueen was not being shocking just to indulge himself. CSM's graduation shows were covered by the London press, and he wanted to exploit controversy to create publicity.[40] This was a common tactic for London's young designers at the time. The country's fashion industry lacked infrastructure to support newcomers, forcing them to rely on extreme showmanship to draw media attention in the hopes of attracting financial backers.[41]
The collection's narrative was inspired by the victims of 19th-century London serial killerJack the Ripper, for whom it was titled.[42][43] The show notes describedJack the Ripper as a "Day into eveningwear collection inspired by 19th century street walkers".[44] McQueen took aesthetic inspiration for the garments from thefashion,erotica, andprostitution practices of theVictorian era.[45][46][47] His tight tailoring and sculptural elements echoed the Victorian style of shaping the body withcorsets andbustles.[45][48] McQueen and Ungless had a mutual interest in the famous 18th-centurysadomasochistic novelThe 120 Days of Sodom and the 1975 film adaptationSalò, or the 120 Days of Sodom, which played into the collection's brutal aesthetic.[45][48] McQueen also drew on the 1985 novelPerfume, in which a geniusperfumer becomes a serial murderer of young women.[49][36]
McQueen also found inspiration in the work of other designers. McKitterick recalled him being "obsessed" with fellow British designerJohn Galliano, whose work was known for being creative and theatrical.[50][51][52] Ungless disputes this to an extent, stating that McQueen disliked Galliano's designs, but wanted to outdo his achievements.[53] To a lesser extent, McQueen looked toHelmut Lang andMartin Margiela, who were then experimenting with aminimalist style that wasavant-garde when compared to the maximaliststyles of the 1980s.[54][55] He was also interested in the decadence and sexuality ofYves Saint Laurent.[53]
McQueen translated what he had learned from his various jobs directly into the collection: tailoring from Savile Row, complexity from Tatsuno, fetishwear from Red or Dead, and a decadent aesthetic from Gigli.[48] He combinedhistoricist references to older styles such asfrock coats with modern elements like asymmetrical pleating or twisted fabric, and played rich colours against transparent fabrics.[48] The collection's palette was primarily black and deep red, with mauve and red fabric used forlining.[44][56] Mauve is a Victorian mourning colour, while using red for lining may have been an echo of the appearance of human flesh within the body.[48][57] Blood splatter was represented by red beads, yarn, and paint.[44] The garments weredistressed with burn marks and other damage.[56][58] Some skirts were decorated withbricolage of photos from magazines, including a portrait of actorJohnny Depp.[56] Feathers, gathered from Ungless's country home, were used as trim.[50]
Several garments, including a pink frock coat, were lined with fabric which hadhuman hair encapsulated within.[35][59][57] For theclothing tag on the items, he encasedlocks of hair (claimed to be his own) inside of clear plastic squares.[57] The use of human hair referenced several historical practices: keeping a lock of hair as a memento or trophy, the Victorian-era practice of prostitutes selling their hair, and the Victorian use ofhair jewellery for mourning.[60][61][62]
At the time, CSM presented its graduation collections in a single show atLondon Fashion Week.[63][64] That year, it was held at theDuke of York's Headquarters, London, on 16 March 1992;[b][56][66] the day before McQueen's twenty-third birthday.[66]Jack the Ripper was presented in the CSM show's second-to-last slot.[66] The show was photographed byNiall McInerney.[44][67] McQueen's mother Joyce and his aunt Renee attended the runway show.[68] A few other attendees would have a significant impact on McQueen's career. Magazine editor and stylistIsabella Blow immediately found herself fascinated by McQueen's work.[69][70] JewellerShaun Leane was invited to the CSM show by chance; he and McQueen later became friends and formed a long-standing artistic collaboration.[71]
London artist Simon Costin loaned McQueen jewellery for the show, including his 1986 pieceMemento Mori, made from bird claws, rabbit skulls, and syntheticjet stones.[56][72][73] Other Costin pieces included a piece made with lacquered dried fish, another with dried baby iguanas and thrushes' wings, and a collar necklace made of preserved bird claws.[74][75]
Students were expected to present a minimum of six outfits for a graduation collection; McQueen presented ten.[32][76] The first outfit featured a black beadedbandeau with an asymmetrical cut, paired with dark redskintight trousers. The second was ashift in sheer blackchiffon worn over a black bra and a black chiffonpencil skirt with feather trim, accessorised with a bird claw necklace by Costin. Next came a black satin frock coat with long pointed front panels and nothing underneath, worn over a photo collagehoop skirt; a tailored black jacket worn over apatchwork skirt; a red and blacktunic dress over torn tights; a tailored pink silk frock coat with a print of black thorns designed by Ungless, over a black bra and black satin trousers; a blacktailcoat with red lining, with nothing underneath, worn over black satin trousers trimmed with red beads; a sheer black open-back sleeveless top with tight black trousers, all trimmed with feathers; a black coat with awasp waist and sharply juttingpeplum, worn with a deep red beaded pencil skirt; and finally a sleeveless blouse in sheer dark red with black beadedepaulettes andhigh-waisted black satin trousers.[45][56][76]
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Isabella Blow insisted on purchasing the collection; McQueen later recalled her as "this nutty lady" who "wouldn't stop badgering me" about it.[56][70] Despite her aristocratic heritage, Blow lived ingenteel poverty, and was forced to pay McQueen in cash instalments.[65][70] Blow described the arrangement in a 2005 interview: "He'd bring an outfit in abin liner, I'd look at it and then he'd come to thecash-point with me."[77]
How much of the collection Blow purchased and what she paid for what she bought are in dispute. Most sources say she purchased the entire collection.[65][78] In her 2015 bookGods and Kings, journalistDana Thomas reported that Simon Ungless told her, "with authority", that it was not the entire collection, although Thomas did not elaborate on how many items Ungless said Blow bought, or which ones.[79] In a 2015 interview,Susannah Frankel also stated that it was not the entire collection.[80]
Author Katherine Knox reports that Blow paid approximately £400 per item, but does not say how many garments she bought.[77] In her biography of McQueen, Judith Watt writes that Blow paid £450 for a single jacket and then £5000 in monthly instalments for the entire collection.[78] JournalistsMaureen Callahan andDana Thomas both criticise the figure of £5000 as an unrealistic one for a brand-new designer at that time, but disagree on who was responsible for the myth: Callahan points at McQueen, while Thomas reports that it was Blow who liked to exaggerate what she paid.[65][79] Callahan gives the real price for the whole collection as £350.[65] Thomas reports that McQueen charged Blow £450, but is ambiguous as to whether this is for a single jacket or the entire collection.[79] McQueen and Blow themselves disagreed on the figure; in interviews for a 1997BBC Two programme, they gave differing accounts. McQueen said he was desperate for money and demanded £350, "take it or leave it", while Blow said "actually it wasn't £350 the lot, it was £350 per piece".[81]
Following the purchase, Blow took it upon herself to promote McQueen's work, becoming a combination of mentor and muse for the early part of McQueen's career.[43][56][70] She wore his clothing around London and used it for photoshoots. WhenBritishVogue produced a six-page spread about Blow's country house in November 1992, Blow and her husband were photographed in McQueen's clothing, including the pink thorn-print frock coat.[38][82]
In retrospect, those who viewed the show recall the collection as being strong, but not necessarily groundbreaking. Hillson felt that McQueen would have done better in a two-year programme to give him more time to come into himself as a designer.[78] Jane Rapley, then the head of CSM, foundJack the Ripper interesting but thought "it wasn't heart-stopping".[78] Designer John McKitterick, who saw the clothing before the show, thought it was a solid collection.[78] Rapley believed it was Blow's attention that allowed McQueen to succeed at that time, as it provided himnetworking opportunities.[78] Louise Rytter notes that the show received minimal press attention, but Blow recognised it as something unique regardless.[44] Fashion journalistSusannah Frankel recalled contemporary press attention mostly focusing on the clothing designs, saying that criticism of the violent imagery did not emerge until later "because the press were looking for something to say later on".[83]
Most critical response has focused on the collection's unusual, violent narrative and styling. Some have connected the themes of sexuality and violence to McQueen's traumatic childhood.[84][85] Author Ana Finel Honigman wrote that McQueen was "transcending but also retaining a history of horror" with his references to the past. In her view, the thorn-print frock coat depicted a "murder victim's hair floating in her own blood".[86] Fashion theorist Caroline Evans citedJack the Ripper as an early example of McQueen's incorporation of "sex, death, and commerce" into fashion, and connected it to his Autumn/Winter 1996 collectionDante, which had similar themes.[87] Judith Watt found a similarity betweenJack the Ripper and the work of British designerJohn Galliano, whose 1984 degree collection from CSM had drawn on the violence of theFrench First Republic (1792–1804).[45] Fashion theorist Christopher Breward wrote that McQueen's decision to reference Jack the Ripper could be seen as unoriginal, given the killer'spersistent influence on popular culture, but concludes this would be an oversimplification.[88] Theorist Mélissa Diaby Savané described McQueen's overall aesthetic as a "fantasy of ugliness", and noted that to this end, McQueen did not romanticise or beautify the prostitutes he was inspired by, instead presenting them "in all their vulgarity".[89]
McQueen's use of his own hair has also drawn critical analysis. Evans wrote that McQueen conceived of his use of his own hair as his way of "giving himself to the collection".[67] Academic Chris McWade wrote that it took "the idea of investing oneself into one's work to a literal end", serving as a means for McQueen to live on through his work both metaphorically and in a lesser sense literally.[90] WriterCassandra Atherton described using several McQueen collections, includingJack the Ripper, in a university-level creative writing course to teach a connection between poetry and fashion, particularly how one can inspire the other. She noted that many of the students became fascinated with McQueen's use of hair and the history of hair in clothing and jewellery.[91]
What attracted me to Alexander was the way he takes ideas from the past and sabotages them with his cut to make them thoroughly new and in the context of today. It is the complexity and severity of his approach to cut that makes him so modern. He is like aPeeping Tom in the way he slits and stabs at fabric to explore all the erogenous zones of the body.
Jack the Ripper was the only collection McQueen presented under his birth name, Lee A. McQueen. By the time he released his next collection,Taxi Driver (Autumn/Winter 1993), he had decided to design under his middle name, Alexander McQueen, which also became the name ofhis fashion house.[56][60][93]
McQueen held on to the narrative and aesthetic tendencies he established inJack the Ripper throughout his career, earning a reputation for producing narratively-driven collections inspired bymacabre aspects of history, art, and his own life.[4][35][45] Tight tailoring and unusual cuts became a brand standard, as did frock coats.[94][95] Frankel called out "the big shoulder, the dropped waist line, and the exposed midriff" seen in the collection's runway show as an early-career signature silhouette.[96] The so-called three-point "origami" folded tail on the thorn-print coat appeared in later collections.[97][98] He drew on the novelPerfume again forHighland Rape (Autumn/Winter 1995).[99]
At times, his references toJack the Ripper were more direct.The Hunger (Spring/Summer 1996) pointed back atJack the Ripper through design elements like sharply-pointed collars, smears of blood, trimmings that imitated human flesh, and prints of thorns.[100][101][102] Hair jewellery appeared again inSarabande (Spring/Summer 2007).[97][98]
Two of the frock coats, including the thorn-print frock, appeared at the retrospective exhibitionAlexander McQueen: Savage Beauty (staged in New York City in 2011 and in London in 2015, respectively).[103] They were loaned by socialiteDaphne Guinness, who purchased Blow's entire collection after her death in 2007.[104] Items from the Blow archive, including the thorn-print coat and other items fromJack the Ripper, appeared in the 2013 retrospectiveIsabella Blow: Fashion Galore! atSomerset House in London.[105] During the staging process for this exhibition, the thorn-print coat was discovered to have a cigarette burn in its side. The curators opted not to remove it during thetextile restoration process, as they felt the burn "was a portal into exploring how Blow wore her remarkable wardrobe with such apparent disregard".[105]
The thorn-print frock coat was photographed for a McQueen retrospective that appeared in the Spring/Summer 2015 issue ofAnOther. It was styled with a pair of bumster trousers and the crown of thorns headpiece fromDante.[106] When early McQueen employee Ruti Danan auctioned her personal archive in 2020, a pattern for one of the coats fromJack the Ripper sold for a reported US$3,025.[107][108]
In 2016, CSM student Tina Gorjanc presented her master's thesis project,Pure Human, which proposed to use McQueen's DNA, sourced from the hair used inJack the Ripper garments, to grow skin tissue that would be made intoleather goods.[59] Gorjanc's project was strictly theoretical. Although she applied for a patent for the process which mentions McQueen's name, she never obtained his actual DNA, and all three prototypes she produced were made of pig skin.[109] McWade describes this project as part of the "ghostly quality" that defines McQueen's posthumous legacy, in which he is often viewed as a haunting presence or is metaphorically resurrected.[90]
