Alexander McQueen put on a series of landmark shows in the late nineties, each one more extreme than the next. But for sheer provocation, nothing topped Spring 1997’s La Poupée, or The Doll. Inspired by the artist Hans Bellmer, who fetishistically rearranged toy dolls, McQueen experimented with proportion and, more disturbingly, trussed the models in various metal restraints. His pal Kate Moss took to the watery runway in a pair of his derriere-exposing bumster pants, the point of which, McQueen insisted, wasn’t to titillate. Rather, he said, “I wanted to elongate the body, not just show the bum. To me, that part of the body—not so much the buttocks, but the bottom of the spine—that’s the most erotic part of anyone’s body, man or woman.”
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