Abstract

Alexander McQueen’s Fall 1995 show Highland Rape was a turning point in his career. The title of the show, in conjunction with the models’ appearance on the runway in ripped, revealing clothes, was undeniably provocative, and the controversy raised his profile considerably. Several reviewers criticized the show, labeling it “misogynistic.” McQueen consistently objected to this characterization, saying that the phrase “Highland Rape” referred to England’s historical “assaults” upon his ancestral homeland of Scotland and drew from witnessing the abuse that his sister suffered at the hands of her ex-husband. Because of this, some fashion scholars have dismissed the idea of McQueen’s misogyny as merely a failure to fully understand his oeuvre and his biography. While critiquing McQueen’s use of sexual violence, it is necessary to find a middle ground between the idea that either McQueen’s work is too complex and authentic to be criticized or that his sometimes-troubling approach to race and gender politics should condemn him to wholesale dismissal. However, examining Highland Rape through its authorial intent and a close reading of the garments themselves, while considering the power dynamics between model and designer, reveals a performance that reinforces the glamorization of rape and the manipulation of women’s bodies.

摘要

Alexander McQueen 1995 年秋季秀高地强奸是他职业生涯的转折点。时装秀的标题，再加上模特们穿着破烂、暴露的衣服出现在秀场上，无疑是具有挑衅性的，而争议也大大提升了他的形象。几位评论家批评了该节目，称其为“厌恶女性”。麦昆一直反对这种描述，称“高地强奸”一词指的是英格兰历史上对他祖籍苏格兰的“袭击”，并源于亲眼目睹了他姐姐在前夫手中遭受的虐待。正因为如此，一些时尚学者认为麦昆厌女症仅仅是因为未能完全理解他的全部作品和传记。在批评麦昆使用性暴力的同时，有必要在 McQueen 的作品过于复杂和真实而无法受到批评，或者他有时令人不安的种族和性别政治方法应该使他被彻底解雇的想法之间找到一个中间立场。然而，审查Highland Rape通过其作者意图和对服装本身的仔细阅读，同时考虑到模特和设计师之间的权力动态，揭示了一种强化强奸的魅力和对女性身体的操纵的表演。