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Jack the Ripper Stalks His Victims - Wikipedia
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<div class="vector-body-before-content"> <div class="mw-indicators"> <div id="mw-indicator-featured-star" class="mw-indicator"><div class="mw-parser-output"><span typeof="mw:File"><a href="/wiki/Wikipedia:Featured_articles*" title="This is a featured article. Click here for more information."><img alt="Featured article" src="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/20px-Cscr-featured.svg.png" decoding="async" width="20" height="19" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/30px-Cscr-featured.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/40px-Cscr-featured.svg.png 2x" data-file-width="466" data-file-height="443" /></a></span></div></div> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">1992 Alexander McQueen fashion collection</div> <p class="mw-empty-elt"> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Coat_made_of_silk,_Alexander_McQueen,_Savage_Beauty.jpg" class="mw-file-description"><img alt="Rear view of long coat with tails, pink with a print of thorns in black" src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/Coat_made_of_silk%2C_Alexander_McQueen%2C_Savage_Beauty.jpg/220px-Coat_made_of_silk%2C_Alexander_McQueen%2C_Savage_Beauty.jpg" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c5/Coat_made_of_silk%2C_Alexander_McQueen%2C_Savage_Beauty.jpg/330px-Coat_made_of_silk%2C_Alexander_McQueen%2C_Savage_Beauty.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c5/Coat_made_of_silk%2C_Alexander_McQueen%2C_Savage_Beauty.jpg/440px-Coat_made_of_silk%2C_Alexander_McQueen%2C_Savage_Beauty.jpg 2x" data-file-width="675" data-file-height="900" /></a><figcaption>Pink <a href="/wiki/Frock_coat" title="Frock coat">frock coat</a> with thorn print from <i>Jack the Ripper</i> at <i><a href="/wiki/Alexander_McQueen:_Savage_Beauty" title="Alexander McQueen: Savage Beauty">Alexander McQueen: Savage Beauty</a></i> (<a href="/wiki/Victoria_and_Albert_Museum" title="Victoria and Albert Museum">Victoria and Albert Museum</a>, 2011)</figcaption></figure> <p><i><b>Jack the Ripper Stalks His Victims</b></i> is the first collection by British designer <a href="/wiki/Alexander_McQueen" title="Alexander McQueen">Alexander McQueen</a>, produced as the thesis collection for his <a href="/wiki/Master%27s_degree_in_the_United_Kingdom" title="Master's degree in the United Kingdom">master's degree</a> in fashion at <a href="/wiki/Central_Saint_Martins" title="Central Saint Martins">Central Saint Martins</a> (CSM) art school. The collection's narrative was inspired by the victims of 19th-century London serial killer <a href="/wiki/Jack_the_Ripper" title="Jack the Ripper">Jack the Ripper</a>, with aesthetic inspiration from the <a href="/wiki/Victorian_fashion" title="Victorian fashion">fashion</a>, <a href="/wiki/Victorian_erotica" title="Victorian erotica">erotica</a>, and <a href="/wiki/Prostitution_in_the_United_Kingdom#19th_century" title="Prostitution in the United Kingdom">prostitution practices</a> of the <a href="/wiki/Victorian_era" title="Victorian era">Victorian era</a>. The collection was presented on the runway at <a href="/wiki/London_Fashion_Week" title="London Fashion Week">London Fashion Week</a> on 16 March 1992, as the second-to-last of the CSM graduate collections. Editor <a href="/wiki/Isabella_Blow" title="Isabella Blow">Isabella Blow</a> was fascinated by the <a href="/wiki/Runway_show" class="mw-redirect" title="Runway show">runway show</a> and insisted on purchasing the entire collection, later becoming McQueen's friend and <a href="/wiki/Muse_(source_of_inspiration)" class="mw-redirect" title="Muse (source of inspiration)">muse</a>. </p><p><i>Jack the Ripper</i> remains an object of critical analysis for its violent concept and styling. McQueen held on to the narrative and aesthetic tendencies he established in <i>Jack the Ripper</i> throughout his career, earning a reputation for producing narratively-driven collections inspired by <a href="/wiki/Macabre" title="Macabre">macabre</a> aspects of history, art, and his own life. Items from <i>Jack the Ripper</i>, including a pink <a href="/wiki/Frock_coat" title="Frock coat">frock coat</a> with a thorn print, have appeared in the retrospectives <i><a href="/wiki/Alexander_McQueen:_Savage_Beauty" title="Alexander McQueen: Savage Beauty">Alexander McQueen: Savage Beauty</a></i> (2011 and 2015) and <i>Isabella Blow: Fashion Galore!</i> (2013). </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Background">Background</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Jack_the_Ripper_Stalks_His_Victims&action=edit&section=1" title="Edit section: Background"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>British designer <a href="/wiki/Alexander_McQueen" title="Alexander McQueen">Alexander McQueen</a> (born Lee Alexander McQueen; 1969–2010) was known in the fashion industry for his imaginative, sometimes controversial, designs and dramatic <a href="/wiki/Fashion_show" title="Fashion show">fashion shows</a>.<sup id="cite_ref-:17_1-0" class="reference"><a href="#cite_note-:17-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:18_2-0" class="reference"><a href="#cite_note-:18-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTECallahan2014xv,_27_3-0" class="reference"><a href="#cite_note-FOOTNOTECallahan2014xv,_27-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEFairerWilcox201612_4-0" class="reference"><a href="#cite_note-FOOTNOTEFairerWilcox201612-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTESavané202198_5-0" class="reference"><a href="#cite_note-FOOTNOTESavané202198-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> McQueen's work was highly <a href="/wiki/Autobiography" title="Autobiography">autobiographical</a>: he incorporated elements of his memories, feelings, and family history into his designs and runway shows.<sup id="cite_ref-FOOTNOTEThomas201585,_153,_329_6-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201585,_153,_329-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEFairerWilcox201652_7-0" class="reference"><a href="#cite_note-FOOTNOTEFairerWilcox201652-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> In his early career, McQueen was often accused of misogyny for his extreme designs, a characterisation to which he consistently objected.<sup id="cite_ref-TG-05-2022_8-0" class="reference"><a href="#cite_note-TG-05-2022-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEGleason201232_9-0" class="reference"><a href="#cite_note-FOOTNOTEGleason201232-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEElenowitz-Hess2022400_10-0" class="reference"><a href="#cite_note-FOOTNOTEElenowitz-Hess2022400-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p><p>The son of a London <a href="/wiki/Taxicab_driver" class="mw-redirect" title="Taxicab driver">taxicab driver</a> and a teacher, McQueen grew up in one of the poorer neighbourhoods in London's <a href="/wiki/East_End_of_London" title="East End of London">East End</a>.<sup id="cite_ref-FOOTNOTEThomas201564_11-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201564-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> His upbringing was traumatic: he was a victim of <a href="/wiki/Childhood_sexual_abuse" class="mw-redirect" title="Childhood sexual abuse">childhood sexual abuse</a> and witnessed his sisters experiencing <a href="/wiki/Domestic_violence" title="Domestic violence">domestic violence</a> from their partners.<sup id="cite_ref-FOOTNOTEWilson201531–33_12-0" class="reference"><a href="#cite_note-FOOTNOTEWilson201531–33-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEThomas201567–68,_81_13-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201567–68,_81-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> He began his career in fashion in 1984 as an apprentice with <a href="/wiki/Savile_Row" title="Savile Row">Savile Row</a> tailors <a href="/wiki/Anderson_%26_Sheppard" title="Anderson & Sheppard">Anderson & Sheppard</a> before briefly joining <a href="/wiki/Gieves_%26_Hawkes" title="Gieves & Hawkes">Gieves & Hawkes</a> as a <a href="/wiki/Pattern_cutting" class="mw-redirect" title="Pattern cutting">pattern cutter</a>.<sup id="cite_ref-doig_14-0" class="reference"><a href="#cite_note-doig-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> His work on Savile Row earned him a reputation as an expert tailor.<sup id="cite_ref-BBCSixWays_16-0" class="reference"><a href="#cite_note-BBCSixWays-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> 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 costumiers <a href="/wiki/Angels_and_Bermans" class="mw-redirect" title="Angels and Bermans">Angels and Bermans</a>.<sup id="cite_ref-GuardianBoy_17-0" class="reference"><a href="#cite_note-GuardianBoy-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> In 1989, at the age of 20, he was hired by experimental <a href="/wiki/Mayfair" title="Mayfair">Mayfair</a>-based designer <a href="/w/index.php?title=Koji_Tatsuno&action=edit&redlink=1" class="new" title="Koji Tatsuno (page does not exist)">Koji Tatsuno</a>.<sup id="cite_ref-FOOTNOTEThomas201572_18-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201572-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-GuardianMcQueen2_19-0" class="reference"><a href="#cite_note-GuardianMcQueen2-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> He then worked under designer <a href="/w/index.php?title=John_McKitterick&action=edit&redlink=1" class="new" title="John McKitterick (page does not exist)">John McKitterick</a>, gaining experience with <a href="/wiki/Fetishwear" class="mw-redirect" title="Fetishwear">fetishwear</a>; first at <a href="/wiki/Red_or_Dead" title="Red or Dead">Red or Dead</a>, then at McKitterick's own label.<sup id="cite_ref-FOOTNOTEFairerWilcox201612_4-1" class="reference"><a href="#cite_note-FOOTNOTEFairerWilcox201612-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEThomas201572_18-1" class="reference"><a href="#cite_note-FOOTNOTEThomas201572-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p>McQueen sought further experience in the industry, and McKitterick recommended he try for an apprenticeship in Italy, then the centre of the fashion world.<sup id="cite_ref-FOOTNOTEThomas201573_20-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201573-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> From March to July 1990, McQueen worked in <a href="/wiki/Milan" title="Milan">Milan</a> at the <a href="/wiki/Atelier" title="Atelier">atelier</a> of designer <a href="/wiki/Romeo_Gigli" title="Romeo Gigli">Romeo Gigli</a>.<sup id="cite_ref-FOOTNOTEThomas201574–75_21-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201574–75-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWilson201559–61_22-0" class="reference"><a href="#cite_note-FOOTNOTEWilson201559–61-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> After resigning, he returned to McKitterick's label in London by August.<sup id="cite_ref-FOOTNOTEThomas201578–79_23-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201578–79-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> When McQueen expressed interest in learning more about the fashion industry, McKitterick suggested he see <a href="/wiki/Bobby_Hillson" title="Bobby Hillson">Bobby Hillson</a>, the founder and head of the <a href="/wiki/Master%27s_degree_in_the_United_Kingdom" title="Master's degree in the United Kingdom">masters</a> course in fashion at London art school <a href="/wiki/Central_Saint_Martins" title="Central Saint Martins">Central Saint Martins</a> (CSM).<sup id="cite_ref-FOOTNOTEThomas201579_24-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201579-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-vogue_25-0" class="reference"><a href="#cite_note-vogue-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Central_Saint_Martins">Central Saint Martins</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Jack_the_Ripper_Stalks_His_Victims&action=edit&section=2" title="Edit section: Central Saint Martins"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>McQueen turned up at CSM with a pile of sample clothing and no appointment, seeking a job teaching pattern cutting.<sup id="cite_ref-GuardianBoy_17-1" class="reference"><a href="#cite_note-GuardianBoy-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWilson201568_26-0" class="reference"><a href="#cite_note-FOOTNOTEWilson201568-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> 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-month <a href="/wiki/Master%27s_degree_in_the_United_Kingdom" title="Master's degree in the United Kingdom">masters</a>-level fashion design course.<sup id="cite_ref-FOOTNOTEWilson201569_27-0" class="reference"><a href="#cite_note-FOOTNOTEWilson201569-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-vogue_25-1" class="reference"><a href="#cite_note-vogue-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> Unable to afford the tuition, he borrowed £4000 from his aunt Renee to cover it.<sup id="cite_ref-FOOTNOTEWilson201570,_177_28-0" class="reference"><a href="#cite_note-FOOTNOTEWilson201570,_177-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWatt201236_29-0" class="reference"><a href="#cite_note-FOOTNOTEWatt201236-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> McQueen met a number of his future collaborators at CSM, including Simon Ungless, a friend and later roommate.<sup id="cite_ref-FOOTNOTEFairerWilcox201612_4-2" class="reference"><a href="#cite_note-FOOTNOTEFairerWilcox201612-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTECallahan2014103_30-0" class="reference"><a href="#cite_note-FOOTNOTECallahan2014103-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEFrankel201569_31-0" class="reference"><a href="#cite_note-FOOTNOTEFrankel201569-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> </p><p>CSM students at the master's level were expected to produce a graduation collection of at least six outfits as their <a href="/wiki/Thesis" title="Thesis">thesis</a>.<sup id="cite_ref-FOOTNOTEGleason20128_32-0" class="reference"><a href="#cite_note-FOOTNOTEGleason20128-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTECallahan2014xv–xvi_33-0" class="reference"><a href="#cite_note-FOOTNOTECallahan2014xv–xvi-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTECallahan2014xv–xvi_33-1" class="reference"><a href="#cite_note-FOOTNOTECallahan2014xv–xvi-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p><p>Students were required to provide a marketing report with their collections, outlining the rationale and <a href="/wiki/Business_case" title="Business case">business case</a> for their designs.<sup id="cite_ref-FOOTNOTECallahan201427_34-0" class="reference"><a href="#cite_note-FOOTNOTECallahan201427-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:1_35-0" class="reference"><a href="#cite_note-:1-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> McQueen instead presented a narrative which described how his mother's study of <a href="/wiki/Genealogy" title="Genealogy">genealogy</a> 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.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>a<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTECallahan201427_34-2" class="reference"><a href="#cite_note-FOOTNOTECallahan201427-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEGleason20129_39-0" class="reference"><a href="#cite_note-FOOTNOTEGleason20129-39"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> CSM professor <a href="/wiki/Louise_Wilson" title="Louise Wilson">Louise Wilson</a>, with whom McQueen had a contentious relationship, told author <a href="/wiki/Andrew_Wilson_(author)" title="Andrew Wilson (author)">Andrew Wilson</a> that the cover of the report was decorated with McQueen's <a href="/wiki/Pubic_hair" title="Pubic hair">pubic hair</a>.<sup id="cite_ref-FOOTNOTEWilson201580,_84_40-0" class="reference"><a href="#cite_note-FOOTNOTEWilson201580,_84-40"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> The report was, at some point, stolen from Wilson's office; she suspected that McQueen himself was responsible.<sup id="cite_ref-:1_35-1" class="reference"><a href="#cite_note-:1-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-FOOTNOTECallahan2014xv,_28_41-0" class="reference"><a href="#cite_note-FOOTNOTECallahan2014xv,_28-41"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEEvans200370–71_42-0" class="reference"><a href="#cite_note-FOOTNOTEEvans200370–71-42"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Concept_and_collection">Concept and collection</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Jack_the_Ripper_Stalks_His_Victims&action=edit&section=3" title="Edit section: Concept and collection"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The collection's narrative was inspired by the victims of 19th-century London serial killer <a href="/wiki/Jack_the_Ripper" title="Jack the Ripper">Jack the Ripper</a>, for whom it was titled.<sup id="cite_ref-FOOTNOTECallahan2014xv_43-0" class="reference"><a href="#cite_note-FOOTNOTECallahan2014xv-43"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:0_44-0" class="reference"><a href="#cite_note-:0-44"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> The show notes described <i>Jack the Ripper</i> as a "Day into eveningwear collection inspired by 19th century street walkers".<sup id="cite_ref-FOOTNOTERytter201559_45-0" class="reference"><a href="#cite_note-FOOTNOTERytter201559-45"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> McQueen took aesthetic inspiration for the garments from the <a href="/wiki/Victorian_fashion" title="Victorian fashion">fashion</a>, <a href="/wiki/Victorian_erotica" title="Victorian erotica">erotica</a>, and <a href="/wiki/Prostitution_in_the_United_Kingdom#19th_century" title="Prostitution in the United Kingdom">prostitution practices</a> of the <a href="/wiki/Victorian_era" title="Victorian era">Victorian era</a>.<sup id="cite_ref-FOOTNOTEWatt201239_46-0" class="reference"><a href="#cite_note-FOOTNOTEWatt201239-46"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWilson201584_47-0" class="reference"><a href="#cite_note-FOOTNOTEWilson201584-47"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEThomas201586_48-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201586-48"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> His tight tailoring and sculptural elements echoed the Victorian style of shaping the body with <a href="/wiki/Corset" title="Corset">corsets</a> and <a href="/wiki/Bustle" title="Bustle">bustles</a>.<sup id="cite_ref-FOOTNOTEWatt201239_46-1" class="reference"><a href="#cite_note-FOOTNOTEWatt201239-46"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEThomas201585_49-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201585-49"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> McQueen and Ungless had a mutual interest in the famous 18th-century <a href="/wiki/Sadomasochism" title="Sadomasochism">sadomasochistic</a> novel <i><a href="/wiki/The_120_Days_of_Sodom" title="The 120 Days of Sodom">The 120 Days of Sodom</a></i> and the 1975 film adaptation <i><a href="/wiki/Sal%C3%B2,_or_the_120_Days_of_Sodom" title="Salò, or the 120 Days of Sodom">Salò, or the 120 Days of Sodom</a></i>, which played into the collection's brutal aesthetic.<sup id="cite_ref-FOOTNOTEWatt201239_46-2" class="reference"><a href="#cite_note-FOOTNOTEWatt201239-46"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEThomas201585_49-1" class="reference"><a href="#cite_note-FOOTNOTEThomas201585-49"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> McQueen also drew on the 1985 novel <i><a href="/wiki/Perfume_(novel)" title="Perfume (novel)">Perfume</a></i>, in which a genius <a href="/wiki/Perfumer" title="Perfumer">perfumer</a> becomes a serial murderer of young women.<sup id="cite_ref-FOOTNOTEHonigman202170_50-0" class="reference"><a href="#cite_note-FOOTNOTEHonigman202170-50"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWilson201581_36-1" class="reference"><a href="#cite_note-FOOTNOTEWilson201581-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> </p><p>McQueen also found inspiration in the work of other designers. McKitterick recalled him being "obsessed" with fellow British designer <a href="/wiki/John_Galliano" title="John Galliano">John Galliano</a>, whose work was known for being creative and theatrical.<sup id="cite_ref-FOOTNOTEWatt201238_51-0" class="reference"><a href="#cite_note-FOOTNOTEWatt201238-51"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWilson2015224_52-0" class="reference"><a href="#cite_note-FOOTNOTEWilson2015224-52"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:02_53-0" class="reference"><a href="#cite_note-:02-53"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> Ungless disputes this to an extent, stating that McQueen disliked Galliano's designs, but wanted to outdo his achievements.<sup id="cite_ref-FOOTNOTEThomas201584_54-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201584-54"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> To a lesser extent, McQueen looked to <a href="/wiki/Helmut_Lang_(artist)" title="Helmut Lang (artist)">Helmut Lang</a> and <a href="/wiki/Martin_Margiela" title="Martin Margiela">Martin Margiela</a>, who were then experimenting with a <a href="/wiki/Minimalism_(visual_arts)" title="Minimalism (visual arts)">minimalist</a> style that was <i><a href="/wiki/Avant-garde" title="Avant-garde">avant-garde</a></i> when compared to the maximalist <a href="/wiki/1980s_in_fashion" title="1980s in fashion">styles of the 1980s</a>.<sup id="cite_ref-FOOTNOTECallahan201426_55-0" class="reference"><a href="#cite_note-FOOTNOTECallahan201426-55"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEThomas201583–84_56-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201583–84-56"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> He was also interested in the decadence and sexuality of <a href="/wiki/Yves_Saint_Laurent_(designer)" title="Yves Saint Laurent (designer)">Yves Saint Laurent</a>.<sup id="cite_ref-FOOTNOTEThomas201584_54-1" class="reference"><a href="#cite_note-FOOTNOTEThomas201584-54"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Mourning_brooch_containing_the_hair_of_a_deceased_relative._Wellcome_L0036419.jpg" class="mw-file-description"><img alt="Refer to caption" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/24/Mourning_brooch_containing_the_hair_of_a_deceased_relative._Wellcome_L0036419.jpg/220px-Mourning_brooch_containing_the_hair_of_a_deceased_relative._Wellcome_L0036419.jpg" decoding="async" width="220" height="143" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/24/Mourning_brooch_containing_the_hair_of_a_deceased_relative._Wellcome_L0036419.jpg/330px-Mourning_brooch_containing_the_hair_of_a_deceased_relative._Wellcome_L0036419.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/24/Mourning_brooch_containing_the_hair_of_a_deceased_relative._Wellcome_L0036419.jpg/440px-Mourning_brooch_containing_the_hair_of_a_deceased_relative._Wellcome_L0036419.jpg 2x" data-file-width="3008" data-file-height="1960" /></a><figcaption>Victorian mourning brooch containing the hair of a deceased relative</figcaption></figure> <p>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.<sup id="cite_ref-FOOTNOTEThomas201585_49-2" class="reference"><a href="#cite_note-FOOTNOTEThomas201585-49"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> He combined <a href="/wiki/Historicism_(art)" title="Historicism (art)">historicist</a> references to older styles such as <a href="/wiki/Frock_coat" title="Frock coat">frock coats</a> with modern elements like asymmetrical pleating or twisted fabric, and played rich colours against transparent fabrics.<sup id="cite_ref-FOOTNOTEThomas201585_49-3" class="reference"><a href="#cite_note-FOOTNOTEThomas201585-49"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> The collection's palette was primarily black and deep red, with mauve and red fabric used for <a href="/wiki/Lining_(sewing)" title="Lining (sewing)">lining</a>.<sup id="cite_ref-FOOTNOTERytter201559_45-1" class="reference"><a href="#cite_note-FOOTNOTERytter201559-45"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEBethune2015304_57-0" class="reference"><a href="#cite_note-FOOTNOTEBethune2015304-57"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEThomas201585_49-4" class="reference"><a href="#cite_note-FOOTNOTEThomas201585-49"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTETownsend2015159_58-0" class="reference"><a href="#cite_note-FOOTNOTETownsend2015159-58"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> Blood splatter was represented by red beads, yarn, and paint.<sup id="cite_ref-FOOTNOTERytter201559_45-2" class="reference"><a href="#cite_note-FOOTNOTERytter201559-45"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> The garments were <a href="/wiki/Distressing" title="Distressing">distressed</a> with burn marks and other damage.<sup id="cite_ref-FOOTNOTEBethune2015304_57-1" class="reference"><a href="#cite_note-FOOTNOTEBethune2015304-57"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWatt201240–41_59-0" class="reference"><a href="#cite_note-FOOTNOTEWatt201240–41-59"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> Some skirts were decorated with <a href="/wiki/Bricolage" title="Bricolage">bricolage</a> of photos from magazines, including a portrait of actor <a href="/wiki/Johnny_Depp" title="Johnny Depp">Johnny Depp</a>.<sup id="cite_ref-FOOTNOTEBethune2015304_57-2" class="reference"><a href="#cite_note-FOOTNOTEBethune2015304-57"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> Feathers, gathered from Ungless's country home, were used as trim.<sup id="cite_ref-FOOTNOTEWatt201238_51-1" class="reference"><a href="#cite_note-FOOTNOTEWatt201238-51"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> </p><p>Several garments, including a pink frock coat, were lined with fabric which had <a href="/wiki/Human_hair" class="mw-redirect" title="Human hair">human hair</a> encapsulated within.<sup id="cite_ref-:1_35-2" class="reference"><a href="#cite_note-:1-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:2_60-0" class="reference"><a href="#cite_note-:2-60"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTETownsend2015159_58-1" class="reference"><a href="#cite_note-FOOTNOTETownsend2015159-58"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> For the <a href="/wiki/Label#Textiles" title="Label">clothing tag</a> on the items, he encased <a href="/wiki/Lock_of_hair" title="Lock of hair">locks of hair</a> (claimed to be his own) inside of clear plastic squares.<sup id="cite_ref-FOOTNOTETownsend2015159_58-2" class="reference"><a href="#cite_note-FOOTNOTETownsend2015159-58"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> 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 of <a href="/wiki/Hair_jewellery" class="mw-redirect" title="Hair jewellery">hair jewellery</a> for mourning.<sup id="cite_ref-FOOTNOTEThomas2015107_61-0" class="reference"><a href="#cite_note-FOOTNOTEThomas2015107-61"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWatt201239–40_62-0" class="reference"><a href="#cite_note-FOOTNOTEWatt201239–40-62"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEEvans2003223_63-0" class="reference"><a href="#cite_note-FOOTNOTEEvans2003223-63"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Runway_show_and_discovery">Runway show and discovery</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Jack_the_Ripper_Stalks_His_Victims&action=edit&section=4" title="Edit section: Runway show and discovery"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Runway_show">Runway show</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Jack_the_Ripper_Stalks_His_Victims&action=edit&section=5" title="Edit section: Runway show"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>At the time, CSM presented its graduation collections in a single show at <a href="/wiki/London_Fashion_Week" title="London Fashion Week">London Fashion Week</a>.<sup id="cite_ref-Morris-NYT_64-0" class="reference"><a href="#cite_note-Morris-NYT-64"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Davis-Observer_65-0" class="reference"><a href="#cite_note-Davis-Observer-65"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> That year, it was held at the <a href="/wiki/Duke_of_York%27s_Headquarters" title="Duke of York's Headquarters">Duke of York's Headquarters</a>, London, on 16 March 1992;<sup id="cite_ref-67" class="reference"><a href="#cite_note-67"><span class="cite-bracket">[</span>b<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEBethune2015304_57-3" class="reference"><a href="#cite_note-FOOTNOTEBethune2015304-57"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEThomas201587_68-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201587-68"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup> the day before McQueen's twenty-third birthday.<sup id="cite_ref-FOOTNOTEThomas201587_68-1" class="reference"><a href="#cite_note-FOOTNOTEThomas201587-68"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup> <i>Jack the Ripper</i> was presented in the CSM show's second-to-last slot.<sup id="cite_ref-FOOTNOTEThomas201587_68-2" class="reference"><a href="#cite_note-FOOTNOTEThomas201587-68"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup> The show was photographed by <a href="/wiki/Niall_McInerney_(photographer)" title="Niall McInerney (photographer)">Niall McInerney</a>.<sup id="cite_ref-FOOTNOTERytter201559_45-3" class="reference"><a href="#cite_note-FOOTNOTERytter201559-45"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEEvans2003141_69-0" class="reference"><a href="#cite_note-FOOTNOTEEvans2003141-69"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup> McQueen's mother Joyce and his aunt Renee attended the runway show.<sup id="cite_ref-FOOTNOTEWilson201583_70-0" class="reference"><a href="#cite_note-FOOTNOTEWilson201583-70"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup> A few other attendees would have a significant impact on McQueen's career. Magazine editor and stylist <a href="/wiki/Isabella_Blow" title="Isabella Blow">Isabella Blow</a> immediately found herself fascinated by McQueen's work.<sup id="cite_ref-FOOTNOTEGleason20129–10_71-0" class="reference"><a href="#cite_note-FOOTNOTEGleason20129–10-71"><span class="cite-bracket">[</span>69<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEFrankel201119_72-0" class="reference"><a href="#cite_note-FOOTNOTEFrankel201119-72"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup> Jeweller <a href="/wiki/Shaun_Leane_(jeweller)" title="Shaun Leane (jeweller)">Shaun Leane</a> was invited to the CSM show by chance; he and McQueen later became friends and formed a long-standing artistic collaboration.<sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup> </p><p>London artist Simon Costin loaned McQueen jewellery for the show, including his 1986 piece <i>Memento Mori</i>, made from bird claws, rabbit skulls, and synthetic <a href="/wiki/Jet_(gemstone)" title="Jet (gemstone)">jet</a> stones.<sup id="cite_ref-FOOTNOTEBethune2015304_57-4" class="reference"><a href="#cite_note-FOOTNOTEBethune2015304-57"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-74" class="reference"><a href="#cite_note-74"><span class="cite-bracket">[</span>72<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-75" class="reference"><a href="#cite_note-75"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEEvans2003145,_149,_234_76-0" class="reference"><a href="#cite_note-FOOTNOTEEvans2003145,_149,_234-76"><span class="cite-bracket">[</span>74<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTERytter201557_77-0" class="reference"><a href="#cite_note-FOOTNOTERytter201557-77"><span class="cite-bracket">[</span>75<span class="cite-bracket">]</span></a></sup> </p><p>Students were expected to present a minimum of six outfits for a graduation collection; McQueen presented ten.<sup id="cite_ref-FOOTNOTEGleason20128_32-1" class="reference"><a href="#cite_note-FOOTNOTEGleason20128-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEThomas201587–88_78-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201587–88-78"><span class="cite-bracket">[</span>76<span class="cite-bracket">]</span></a></sup> The first outfit featured a black beaded <a href="/wiki/Bandeau" title="Bandeau">bandeau</a> with an asymmetrical cut, paired with dark red <a href="/wiki/Slim-fit_pants" title="Slim-fit pants">skintight trousers</a>. The second was a <a href="/wiki/Shift_(clothing)" class="mw-redirect" title="Shift (clothing)">shift</a> in sheer black <a href="/wiki/Chiffon_(fabric)" title="Chiffon (fabric)">chiffon</a> worn over a black bra and a black chiffon <a href="/wiki/Pencil_skirt" title="Pencil skirt">pencil skirt</a> 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 collage <a href="/wiki/Hoop_skirt" title="Hoop skirt">hoop skirt</a>; a tailored black jacket worn over a <a href="/wiki/Patchwork" title="Patchwork">patchwork</a> skirt; a red and black <a href="/wiki/Tunic" title="Tunic">tunic</a> 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 black <a href="/wiki/Tailcoat" title="Tailcoat">tailcoat</a> 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 a <a href="/wiki/Wasp_waist" title="Wasp waist">wasp waist</a> and sharply jutting <a href="/wiki/Peplum_jacket" title="Peplum jacket">peplum</a>, worn with a deep red beaded pencil skirt; and finally a sleeveless blouse in sheer dark red with black beaded <a href="/wiki/Epaulette" title="Epaulette">epaulettes</a> and <a href="/wiki/High-rise_(fashion)" title="High-rise (fashion)">high-waisted</a> black satin trousers.<sup id="cite_ref-FOOTNOTEWatt201239_46-4" class="reference"><a href="#cite_note-FOOTNOTEWatt201239-46"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEBethune2015304_57-5" class="reference"><a href="#cite_note-FOOTNOTEBethune2015304-57"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEThomas201587–88_78-1" class="reference"><a href="#cite_note-FOOTNOTEThomas201587–88-78"><span class="cite-bracket">[</span>76<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Discovery_by_Isabella_Blow">Discovery by Isabella Blow</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Jack_the_Ripper_Stalks_His_Victims&action=edit&section=6" title="Edit section: Discovery by Isabella Blow"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:2005_Stuckist_Turner_demo_(1)_Ausschnitt_Isabella_Blow.jpg" class="mw-file-description"><img alt="Woman facing the camera, wearing a low-cut top and elaborate feathered hat" src="//upload.wikimedia.org/wikipedia/commons/7/7b/2005_Stuckist_Turner_demo_%281%29_Ausschnitt_Isabella_Blow.jpg" decoding="async" width="188" height="250" class="mw-file-element" data-file-width="188" data-file-height="250" /></a><figcaption><a href="/wiki/Isabella_Blow" title="Isabella Blow">Isabella Blow</a> in 2005</figcaption></figure><p>Isabella Blow insisted on purchasing the entire collection; McQueen later recalled her as "this nutty lady" who "wouldn't stop badgering me" about it.<sup id="cite_ref-81" class="reference"><a href="#cite_note-81"><span class="cite-bracket">[</span>c<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEBethune2015304_57-6" class="reference"><a href="#cite_note-FOOTNOTEBethune2015304-57"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEFrankel201119_72-1" class="reference"><a href="#cite_note-FOOTNOTEFrankel201119-72"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup> Despite her aristocratic heritage, Blow lived in <a href="/wiki/Genteel_poverty" title="Genteel poverty">genteel poverty</a>, and was forced to pay McQueen in cash instalments.<sup id="cite_ref-FOOTNOTECallahan201428_66-1" class="reference"><a href="#cite_note-FOOTNOTECallahan201428-66"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEFrankel201119_72-2" class="reference"><a href="#cite_note-FOOTNOTEFrankel201119-72"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup> Blow described the arrangement in a 2005 interview: "He'd bring an outfit in a <a href="/wiki/Bin_bag" title="Bin bag">bin liner</a>, I'd look at it and then he'd come to the <a href="/wiki/Cashpoint" class="mw-redirect" title="Cashpoint">cash-point</a> with me."<sup id="cite_ref-FOOTNOTEKnox20108_82-0" class="reference"><a href="#cite_note-FOOTNOTEKnox20108-82"><span class="cite-bracket">[</span>79<span class="cite-bracket">]</span></a></sup> </p><p>The price Blow paid for the collection varies depending on the source. 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.<sup id="cite_ref-FOOTNOTEWatt201241_83-0" class="reference"><a href="#cite_note-FOOTNOTEWatt201241-83"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup> Author Katherine Knox reports that she paid approximately £400 per item, but does not say how many garments she bought.<sup id="cite_ref-FOOTNOTEKnox20108_82-1" class="reference"><a href="#cite_note-FOOTNOTEKnox20108-82"><span class="cite-bracket">[</span>79<span class="cite-bracket">]</span></a></sup> Journalists <a href="/wiki/Maureen_Callahan" title="Maureen Callahan">Maureen Callahan</a> and <a href="/wiki/Dana_Thomas" title="Dana Thomas">Dana Thomas</a> both say that the £5000 figure was unrealistic for a brand-new designer, 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.<sup id="cite_ref-FOOTNOTECallahan201428_66-2" class="reference"><a href="#cite_note-FOOTNOTECallahan201428-66"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEThomas2015101_79-1" class="reference"><a href="#cite_note-FOOTNOTEThomas2015101-79"><span class="cite-bracket">[</span>77<span class="cite-bracket">]</span></a></sup> Callahan gives the real price for the whole collection as £350.<sup id="cite_ref-FOOTNOTECallahan201428_66-3" class="reference"><a href="#cite_note-FOOTNOTECallahan201428-66"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> Thomas reports that McQueen charged Blow £450, but is ambiguous as to whether this is for a single jacket or the entire collection.<sup id="cite_ref-FOOTNOTEThomas2015101_79-2" class="reference"><a href="#cite_note-FOOTNOTEThomas2015101-79"><span class="cite-bracket">[</span>77<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-:0_44-1" class="reference"><a href="#cite_note-:0-44"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEBethune2015304_57-7" class="reference"><a href="#cite_note-FOOTNOTEBethune2015304-57"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEFrankel201119_72-3" class="reference"><a href="#cite_note-FOOTNOTEFrankel201119-72"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup> She wore his clothing around London and used it for photoshoots. When <a href="/wiki/British_Vogue" title="British Vogue">British <i>Vogue</i></a> 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.<sup id="cite_ref-FOOTNOTEGleason20129_39-1" class="reference"><a href="#cite_note-FOOTNOTEGleason20129-39"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTERytter201558–59_84-0" class="reference"><a href="#cite_note-FOOTNOTERytter201558–59-84"><span class="cite-bracket">[</span>81<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Reception_and_analysis">Reception and analysis</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Jack_the_Ripper_Stalks_His_Victims&action=edit&section=7" title="Edit section: Reception and analysis"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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.<sup id="cite_ref-FOOTNOTEWatt201241_83-1" class="reference"><a href="#cite_note-FOOTNOTEWatt201241-83"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup> Jane Rapley, then the head of CSM, found <i>Jack the Ripper</i> interesting but thought "it wasn't heart-stopping".<sup id="cite_ref-FOOTNOTEWatt201241_83-2" class="reference"><a href="#cite_note-FOOTNOTEWatt201241-83"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup> Designer John McKitterick, who saw the clothing before the show, thought it was a solid collection.<sup id="cite_ref-FOOTNOTEWatt201241_83-3" class="reference"><a href="#cite_note-FOOTNOTEWatt201241-83"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup> Rapley believed it was Blow's attention that allowed McQueen to succeed at that time, as it provided him <a href="/wiki/Business_networking" title="Business networking">networking</a> opportunities.<sup id="cite_ref-FOOTNOTEWatt201241_83-4" class="reference"><a href="#cite_note-FOOTNOTEWatt201241-83"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup> Louise Rytter notes that the show received minimal press attention, but Blow recognised it as something unique regardless.<sup id="cite_ref-FOOTNOTERytter201559_45-4" class="reference"><a href="#cite_note-FOOTNOTERytter201559-45"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> Fashion journalist <a href="/wiki/Susannah_Frankel" title="Susannah Frankel">Susannah Frankel</a> 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".<sup id="cite_ref-FOOTNOTEKnight20151:41–1:52_85-0" class="reference"><a href="#cite_note-FOOTNOTEKnight20151:41–1:52-85"><span class="cite-bracket">[</span>82<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-FOOTNOTEHonigman202154_86-0" class="reference"><a href="#cite_note-FOOTNOTEHonigman202154-86"><span class="cite-bracket">[</span>83<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEThomas201581_87-0" class="reference"><a href="#cite_note-FOOTNOTEThomas201581-87"><span class="cite-bracket">[</span>84<span class="cite-bracket">]</span></a></sup> 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".<sup id="cite_ref-FOOTNOTEHonigman202154,_118_88-0" class="reference"><a href="#cite_note-FOOTNOTEHonigman202154,_118-88"><span class="cite-bracket">[</span>85<span class="cite-bracket">]</span></a></sup> Fashion theorist Caroline Evans cited <i>Jack the Ripper</i> as an early example of McQueen's incorporation of "sex, death, and commerce" into fashion, and connected it to his Autumn/Winter 1996 collection <a href="/wiki/Dante_(Alexander_McQueen_collection)" title="Dante (Alexander McQueen collection)"><i>Dante</i></a>, which had similar themes.<sup id="cite_ref-FOOTNOTEEvans2003141,_293_89-0" class="reference"><a href="#cite_note-FOOTNOTEEvans2003141,_293-89"><span class="cite-bracket">[</span>86<span class="cite-bracket">]</span></a></sup> Judith Watt found a similarity between <i>Jack the Ripper</i> and the work of British designer <a href="/wiki/John_Galliano" title="John Galliano">John Galliano</a>, whose 1984 degree collection from CSM had drawn on the violence of the <a href="/wiki/French_First_Republic" title="French First Republic">French First Republic</a> (1792–1804).<sup id="cite_ref-FOOTNOTEWatt201239_46-5" class="reference"><a href="#cite_note-FOOTNOTEWatt201239-46"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> Fashion theorist Christopher Breward wrote that McQueen's decision to reference Jack the Ripper could be seen as unoriginal, given the killer's <a href="/wiki/Jack_the_Ripper_in_fiction" title="Jack the Ripper in fiction">persistent influence on popular culture</a>, but concludes this would be an oversimplification.<sup id="cite_ref-FOOTNOTEBreward201543,_45_90-0" class="reference"><a href="#cite_note-FOOTNOTEBreward201543,_45-90"><span class="cite-bracket">[</span>87<span class="cite-bracket">]</span></a></sup> 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".<sup id="cite_ref-FOOTNOTESavané202195_91-0" class="reference"><a href="#cite_note-FOOTNOTESavané202195-91"><span class="cite-bracket">[</span>88<span class="cite-bracket">]</span></a></sup> </p><p>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".<sup id="cite_ref-FOOTNOTEEvans2003141_69-1" class="reference"><a href="#cite_note-FOOTNOTEEvans2003141-69"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEMcWade202177_92-0" class="reference"><a href="#cite_note-FOOTNOTEMcWade202177-92"><span class="cite-bracket">[</span>89<span class="cite-bracket">]</span></a></sup> Writer <a href="/wiki/Cassandra_Atherton" title="Cassandra Atherton">Cassandra Atherton</a> described using several McQueen collections, including <i>Jack the Ripper</i>, 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.<sup id="cite_ref-FOOTNOTEAtherton201247–49_93-0" class="reference"><a href="#cite_note-FOOTNOTEAtherton201247–49-93"><span class="cite-bracket">[</span>90<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Legacy">Legacy</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Jack_the_Ripper_Stalks_His_Victims&action=edit&section=8" title="Edit section: Legacy"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1224211176">.mw-parser-output .quotebox{background-color:#F9F9F9;border:1px solid #aaa;box-sizing:border-box;padding:10px;font-size:88%;max-width:100%}.mw-parser-output .quotebox.floatleft{margin:.5em 1.4em .8em 0}.mw-parser-output .quotebox.floatright{margin:.5em 0 .8em 1.4em}.mw-parser-output .quotebox.centered{overflow:hidden;position:relative;margin:.5em auto .8em auto}.mw-parser-output .quotebox.floatleft span,.mw-parser-output .quotebox.floatright span{font-style:inherit}.mw-parser-output .quotebox>blockquote{margin:0;padding:0;border-left:0;font-family:inherit;font-size:inherit}.mw-parser-output .quotebox-title{text-align:center;font-size:110%;font-weight:bold}.mw-parser-output .quotebox-quote>:first-child{margin-top:0}.mw-parser-output .quotebox-quote:last-child>:last-child{margin-bottom:0}.mw-parser-output .quotebox-quote.quoted:before{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" “ ";vertical-align:-45%;line-height:0}.mw-parser-output .quotebox-quote.quoted:after{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" ” ";line-height:0}.mw-parser-output .quotebox .left-aligned{text-align:left}.mw-parser-output .quotebox .right-aligned{text-align:right}.mw-parser-output .quotebox .center-aligned{text-align:center}.mw-parser-output .quotebox .quote-title,.mw-parser-output .quotebox .quotebox-quote{display:block}.mw-parser-output .quotebox cite{display:block;font-style:normal}@media screen and (max-width:640px){.mw-parser-output .quotebox{width:100%!important;margin:0 0 .8em!important;float:none!important}}</style><div class="quotebox pullquote floatright" style="width:25%; ;"> <blockquote class="quotebox-quote left-aligned" style=""> <p>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 a <a href="/wiki/Peeping_Tom" class="mw-redirect" title="Peeping Tom">Peeping Tom</a> in the way he slits and stabs at fabric to explore all the erogenous zones of the body. </p> </blockquote> <div style="padding-bottom: 0; padding-top: 0.5em"><cite class="left-aligned" style=""><a href="/wiki/Isabella_Blow" title="Isabella Blow">Isabella Blow</a>, quoted in <i><a href="/wiki/Harper%27s_Bazaar" title="Harper's Bazaar">Harper's Bazaar</a></i>, 1996<sup id="cite_ref-FOOTNOTEEvans2003142_94-0" class="reference"><a href="#cite_note-FOOTNOTEEvans2003142-94"><span class="cite-bracket">[</span>91<span class="cite-bracket">]</span></a></sup></cite></div> </div> <p><i>Jack the Ripper</i> was the only collection McQueen presented under his birth name, Lee A. McQueen. By the time he released his next collection, <a href="/wiki/Taxi_Driver_(Alexander_McQueen_collection)" title="Taxi Driver (Alexander McQueen collection)"><i>Taxi Driver</i></a> (Autumn/Winter 1993), he had decided to design under his middle name, Alexander McQueen, which also became the name of <a href="/wiki/Alexander_McQueen_(fashion_house)" title="Alexander McQueen (fashion house)">his fashion house</a>.<sup id="cite_ref-FOOTNOTEBethune2015304_57-8" class="reference"><a href="#cite_note-FOOTNOTEBethune2015304-57"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEThomas2015107_61-1" class="reference"><a href="#cite_note-FOOTNOTEThomas2015107-61"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWatt201256_95-0" class="reference"><a href="#cite_note-FOOTNOTEWatt201256-95"><span class="cite-bracket">[</span>92<span class="cite-bracket">]</span></a></sup> </p><p>McQueen held on to the narrative and aesthetic tendencies he established in <i>Jack the Ripper</i> throughout his career, earning a reputation for producing narratively-driven collections inspired by <a href="/wiki/Macabre" title="Macabre">macabre</a> aspects of history, art, and his own life.<sup id="cite_ref-FOOTNOTEFairerWilcox201612_4-3" class="reference"><a href="#cite_note-FOOTNOTEFairerWilcox201612-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:1_35-3" class="reference"><a href="#cite_note-:1-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWatt201239_46-6" class="reference"><a href="#cite_note-FOOTNOTEWatt201239-46"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> Tight tailoring and unusual cuts became a brand standard, as did frock coats.<sup id="cite_ref-FOOTNOTEWilcox201532_96-0" class="reference"><a href="#cite_note-FOOTNOTEWilcox201532-96"><span class="cite-bracket">[</span>93<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEKnight20153:27–3:29_97-0" class="reference"><a href="#cite_note-FOOTNOTEKnight20153:27–3:29-97"><span class="cite-bracket">[</span>94<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEKnight20153:34–3:49_98-0" class="reference"><a href="#cite_note-FOOTNOTEKnight20153:34–3:49-98"><span class="cite-bracket">[</span>95<span class="cite-bracket">]</span></a></sup> The so-called three-point "<a href="/wiki/Origami" title="Origami">origami</a>" folded tail on the thorn-print coat appeared in later collections.<sup id="cite_ref-:3_99-0" class="reference"><a href="#cite_note-:3-99"><span class="cite-bracket">[</span>96<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTETownsend2015159–161_100-0" class="reference"><a href="#cite_note-FOOTNOTETownsend2015159–161-100"><span class="cite-bracket">[</span>97<span class="cite-bracket">]</span></a></sup> He drew on the novel <i>Perfume</i> again for <i><a href="/wiki/Highland_Rape" title="Highland Rape">Highland Rape</a></i> (Autumn/Winter 1995).<sup id="cite_ref-FOOTNOTEThomas2015148_101-0" class="reference"><a href="#cite_note-FOOTNOTEThomas2015148-101"><span class="cite-bracket">[</span>98<span class="cite-bracket">]</span></a></sup> </p><p>At times, his references to <i>Jack the Ripper</i> were more direct. <i><a href="/wiki/The_Hunger_(Alexander_McQueen_collection)" title="The Hunger (Alexander McQueen collection)">The Hunger</a></i> (Spring/Summer 1996) pointed back at <i>Jack the Ripper</i> through design elements like sharply-pointed collars, smears of blood, trimmings that imitated human flesh, and prints of thorns.<sup id="cite_ref-FOOTNOTEBethune2015307_102-0" class="reference"><a href="#cite_note-FOOTNOTEBethune2015307-102"><span class="cite-bracket">[</span>99<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEO'Neill2015273_103-0" class="reference"><a href="#cite_note-FOOTNOTEO'Neill2015273-103"><span class="cite-bracket">[</span>100<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWilson2015145–146_104-0" class="reference"><a href="#cite_note-FOOTNOTEWilson2015145–146-104"><span class="cite-bracket">[</span>101<span class="cite-bracket">]</span></a></sup> Hair jewellery appeared again in <i><a href="/w/index.php?title=Sarabande_(Alexander_McQueen_collection)&action=edit&redlink=1" class="new" title="Sarabande (Alexander McQueen collection) (page does not exist)">Sarabande</a></i> (Spring/Summer 2007).<sup id="cite_ref-:3_99-1" class="reference"><a href="#cite_note-:3-99"><span class="cite-bracket">[</span>96<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTETownsend2015159–161_100-1" class="reference"><a href="#cite_note-FOOTNOTETownsend2015159–161-100"><span class="cite-bracket">[</span>97<span class="cite-bracket">]</span></a></sup> </p><p>Two of the frock coats, including the thorn-print frock, appeared at the retrospective exhibition <i><a href="/wiki/Alexander_McQueen:_Savage_Beauty" title="Alexander McQueen: Savage Beauty">Alexander McQueen: Savage Beauty</a></i> (staged in New York City in 2011 and in London in 2015, respectively).<sup id="cite_ref-FOOTNOTEBolton2011232_105-0" class="reference"><a href="#cite_note-FOOTNOTEBolton2011232-105"><span class="cite-bracket">[</span>102<span class="cite-bracket">]</span></a></sup> They were loaned by socialite <a href="/wiki/Daphne_Guinness" title="Daphne Guinness">Daphne Guinness</a>, who purchased Blow's entire collection after her death in 2007.<sup id="cite_ref-106" class="reference"><a href="#cite_note-106"><span class="cite-bracket">[</span>103<span class="cite-bracket">]</span></a></sup> Items from the Blow archive, including the thorn-print coat and other items from <i>Jack the Ripper</i>, appeared in the 2013 retrospective <i>Isabella Blow: Fashion Galore!</i> at <a href="/wiki/Somerset_House" title="Somerset House">Somerset House</a> in London.<sup id="cite_ref-FOOTNOTEO'Neill2018114_107-0" class="reference"><a href="#cite_note-FOOTNOTEO'Neill2018114-107"><span class="cite-bracket">[</span>104<span class="cite-bracket">]</span></a></sup> 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 the <a href="/wiki/Textile_restoration" class="mw-redirect" title="Textile restoration">textile restoration</a> process, as they felt the burn "was a portal into exploring how Blow wore her remarkable wardrobe with such apparent disregard".<sup id="cite_ref-FOOTNOTEO'Neill2018114_107-1" class="reference"><a href="#cite_note-FOOTNOTEO'Neill2018114-107"><span class="cite-bracket">[</span>104<span class="cite-bracket">]</span></a></sup> </p><p>The thorn-print frock coat was photographed for a McQueen retrospective that appeared in the Spring/Summer 2015 issue of <a href="/wiki/Another_Magazine" title="Another Magazine"><i>AnOther</i></a>. It was styled with a pair of bumster trousers and the crown of thorns headpiece from <i>Dante</i>.<sup id="cite_ref-108" class="reference"><a href="#cite_note-108"><span class="cite-bracket">[</span>105<span class="cite-bracket">]</span></a></sup> When early McQueen employee Ruti Danan auctioned her personal archive in 2020, a pattern for one of the coats from <i>Jack the Ripper</i> sold for a reported US$3,025.<sup id="cite_ref-109" class="reference"><a href="#cite_note-109"><span class="cite-bracket">[</span>106<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-110" class="reference"><a href="#cite_note-110"><span class="cite-bracket">[</span>107<span class="cite-bracket">]</span></a></sup> </p><p>In 2016, CSM student Tina Gorjanc presented her master's thesis project, <i>Pure Human</i>, which proposed to use McQueen's DNA, sourced from the hair used in <i>Jack the Ripper</i> garments, to grow skin tissue that would be made into <a href="/wiki/Leather_goods" class="mw-redirect" title="Leather goods">leather goods</a>.<sup id="cite_ref-:2_60-1" class="reference"><a href="#cite_note-:2-60"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-111" class="reference"><a href="#cite_note-111"><span class="cite-bracket">[</span>108<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEMcWade202177_92-1" class="reference"><a href="#cite_note-FOOTNOTEMcWade202177-92"><span class="cite-bracket">[</span>89<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Jack_the_Ripper_Stalks_His_Victims&action=edit&section=9" title="Edit section: Notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-lower-alpha"> <div class="mw-references-wrap"><ol class="references"> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Some sources incorrectly write that McQueen claimed to have been distantly related to the actual victim.<sup id="cite_ref-FOOTNOTECallahan201427_34-1" class="reference"><a href="#cite_note-FOOTNOTECallahan201427-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEWilson201581_36-0" class="reference"><a href="#cite_note-FOOTNOTEWilson201581-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-67">^</a></b></span> <span class="reference-text">Some sources provide a date of July 1992 and list the venue as the <a href="/wiki/Olympia_London" title="Olympia London">Olympia London</a> in <a href="/wiki/Kensington" title="Kensington">Kensington</a>.<sup id="cite_ref-FOOTNOTEWatt201239_46-3" class="reference"><a href="#cite_note-FOOTNOTEWatt201239-46"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTECallahan201428_66-0" class="reference"><a href="#cite_note-FOOTNOTECallahan201428-66"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> It is unclear where this originated from, but it appears to be erroneous, as <a href="/wiki/London_Fashion_Week" title="London Fashion Week">London Fashion Week</a> in 1992 was held in March, and Central Saint Martins holds its graduation shows at Fashion Week.<sup id="cite_ref-Morris-NYT_64-1" class="reference"><a href="#cite_note-Morris-NYT-64"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Davis-Observer_65-1" class="reference"><a href="#cite_note-Davis-Observer-65"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-81"><span class="mw-cite-backlink"><b><a href="#cite_ref-81">^</a></b></span> <span class="reference-text">Most sources say she purchased the entire collection. However, in her 2015 book <i><a href="/wiki/Gods_and_Kings:_The_Rise_and_Fall_of_Alexander_McQueen_and_John_Galliano" title="Gods and Kings: The Rise and Fall of Alexander McQueen and John Galliano">Gods and Kings</a></i>, journalist <a href="/wiki/Dana_Thomas" title="Dana Thomas">Dana Thomas</a> reports that Simon Ungless told her, "with authority", that it was not the entire collection, although she does not elaborate.<sup id="cite_ref-FOOTNOTEThomas2015101_79-0" class="reference"><a href="#cite_note-FOOTNOTEThomas2015101-79"><span class="cite-bracket">[</span>77<span class="cite-bracket">]</span></a></sup> In a 2015 interview, <a href="/wiki/Susannah_Frankel" title="Susannah Frankel">Susannah Frankel</a> also states that it was not the entire collection.<sup id="cite_ref-FOOTNOTEKnight20151:25–1:37_80-0" class="reference"><a href="#cite_note-FOOTNOTEKnight20151:25–1:37-80"><span class="cite-bracket">[</span>78<span class="cite-bracket">]</span></a></sup></span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Jack_the_Ripper_Stalks_His_Victims&action=edit&section=10" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626" /><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-:17-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-:17_1-0">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.vam.ac.uk/articles/alexander-mcqueen-an-introduction">"Alexander McQueen – an introduction"</a>. <i><a href="/wiki/Victoria_and_Albert_Museum" title="Victoria and Albert Museum">Victoria and Albert Museum</a></i><span class="reference-accessdate">. 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href="#cite_ref-FOOTNOTEThomas201587–88_78-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEThomas201587–88_78-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFThomas2015">Thomas 2015</a>, pp. 87–88.</span> </li> <li id="cite_note-FOOTNOTEThomas2015101-79"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEThomas2015101_79-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEThomas2015101_79-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEThomas2015101_79-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFThomas2015">Thomas 2015</a>, p. 101.</span> </li> <li id="cite_note-FOOTNOTEKnight20151:25–1:37-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKnight20151:25–1:37_80-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKnight2015">Knight 2015</a>, 1:25–1:37.</span> </li> <li id="cite_note-FOOTNOTEKnox20108-82"><span 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href="#cite_ref-FOOTNOTEMcWade202177_92-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFMcWade2021">McWade 2021</a>, p. 77.</span> </li> <li id="cite_note-FOOTNOTEAtherton201247–49-93"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEAtherton201247–49_93-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFAtherton2012">Atherton 2012</a>, pp. 47–49.</span> </li> <li id="cite_note-FOOTNOTEEvans2003142-94"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEEvans2003142_94-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFEvans2003">Evans 2003</a>, p. 142.</span> </li> <li id="cite_note-FOOTNOTEWatt201256-95"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEWatt201256_95-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFWatt2012">Watt 2012</a>, p. 56.</span> </li> <li id="cite_note-FOOTNOTEWilcox201532-96"><span class="mw-cite-backlink"><b><a 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Retrieved <span class="nowrap">28 August</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=AnOther&rft.atitle=Daphne+Guinness+on+Isabella+Blow&rft.date=2013-11-18&rft.aulast=Woo&rft.aufirst=Kin&rft_id=https%3A%2F%2Fwww.anothermag.com%2Ffashion-beauty%2F3186%2Fdaphne-guinness-on-isabella-blow&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTEO'Neill2018114-107"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEO'Neill2018114_107-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEO'Neill2018114_107-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFO'Neill2018">O'Neill 2018</a>, p. 114.</span> </li> <li id="cite_note-108"><span class="mw-cite-backlink"><b><a href="#cite_ref-108">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFStansfeld2015" class="citation web cs1">Stansfeld, Ted (30 October 2015). <a rel="nofollow" class="external text" href="https://www.dazeddigital.com/fashion/article/27210/1/alexander-mcqueen-s-most-dark-and-twisted-moments">"Alexander McQueen's most dark and twisted moments"</a>. <i><a href="/wiki/Dazed" title="Dazed">Dazed</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231004095709/https://www.dazeddigital.com/fashion/article/27210/1/alexander-mcqueen-s-most-dark-and-twisted-moments">Archived</a> from the original on 4 October 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">5 October</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Dazed&rft.atitle=Alexander+McQueen%27s+most+dark+and+twisted+moments&rft.date=2015-10-30&rft.aulast=Stansfeld&rft.aufirst=Ted&rft_id=https%3A%2F%2Fwww.dazeddigital.com%2Ffashion%2Farticle%2F27210%2F1%2Falexander-mcqueen-s-most-dark-and-twisted-moments&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></span> </li> <li id="cite_note-109"><span class="mw-cite-backlink"><b><a href="#cite_ref-109">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHeron-Langton2020" class="citation web cs1">Heron-Langton, Jessica (20 February 2020). <a rel="nofollow" class="external text" href="https://www.dazeddigital.com/fashion/article/48031/1/some-extremely-rare-mcqueen-pieces-up-for-auction-boston-rr-ruti-danan">"Over £1m of rare McQueen pieces are going on sale"</a>. <i><a href="/wiki/Dazed" title="Dazed">Dazed</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230507064308/https://www.dazeddigital.com/fashion/article/48031/1/some-extremely-rare-mcqueen-pieces-up-for-auction-boston-rr-ruti-danan">Archived</a> from the original on 7 May 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">6 May</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Dazed&rft.atitle=Over+%C2%A31m+of+rare+McQueen+pieces+are+going+on+sale&rft.date=2020-02-20&rft.aulast=Heron-Langton&rft.aufirst=Jessica&rft_id=https%3A%2F%2Fwww.dazeddigital.com%2Ffashion%2Farticle%2F48031%2F1%2Fsome-extremely-rare-mcqueen-pieces-up-for-auction-boston-rr-ruti-danan&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></span> </li> <li id="cite_note-110"><span class="mw-cite-backlink"><b><a href="#cite_ref-110">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.rrauction.com/auctions/lot-detail/34230200587604--jack-the-ripper-stalks-his-victims-five-piece-pattern-for-pointed-front-ribboned-collar-1992-graduate-collection/?cat=0">"<i>Jack the Ripper Stalks His Victims</i> five-piece pattern for pointed front ribboned collar 1992 Graduate Collection"</a>. <i><a href="/wiki/RR_Auction" title="RR Auction">RR Auction</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231007045648/https://www.rrauction.com/auctions/lot-detail/34230200587604--jack-the-ripper-stalks-his-victims-five-piece-pattern-for-pointed-front-ribboned-collar-1992-graduate-collection/?cat=0">Archived</a> from the original on 7 October 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">5 October</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=RR+Auction&rft.atitle=Jack+the+Ripper+Stalks+His+Victims+five-piece+pattern+for+pointed+front+ribboned+collar+1992+Graduate+Collection&rft_id=https%3A%2F%2Fwww.rrauction.com%2Fauctions%2Flot-detail%2F34230200587604--jack-the-ripper-stalks-his-victims-five-piece-pattern-for-pointed-front-ribboned-collar-1992-graduate-collection%2F%3Fcat%3D0&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></span> </li> <li id="cite_note-111"><span class="mw-cite-backlink"><b><a href="#cite_ref-111">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLefave2016" class="citation web cs1">Lefave, Samantha (27 July 2016). <a rel="nofollow" class="external text" href="https://www.allure.com/story/alexander-mcqueen-skin-bag">"The truth behind the Alexander McQueen 'skin' bags"</a>. <i><a href="/wiki/Allure_(magazine)" title="Allure (magazine)">Allure</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231007051149/https://www.allure.com/story/alexander-mcqueen-skin-bag">Archived</a> from the original on 7 October 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">5 October</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Allure&rft.atitle=The+truth+behind+the+Alexander+McQueen+%27skin%27+bags&rft.date=2016-07-27&rft.aulast=Lefave&rft.aufirst=Samantha&rft_id=https%3A%2F%2Fwww.allure.com%2Fstory%2Falexander-mcqueen-skin-bag&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="Bibliography">Bibliography</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Jack_the_Ripper_Stalks_His_Victims&action=edit&section=11" title="Edit section: Bibliography"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin" style=""> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFAtherton2012" class="citation journal cs1"><a href="/wiki/Cassandra_Atherton" title="Cassandra Atherton">Atherton, Cassandra</a> (2012). "The Haunting: Poetry and Fashion in the Creative Writing Workshop". <i>Writing on the Edge</i>. <b>23</b> (1): <span class="nowrap">47–</span>53. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1064-6051">1064-6051</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/43157472">43157472</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Writing+on+the+Edge&rft.atitle=The+Haunting%3A+Poetry+and+Fashion+in+the+Creative+Writing+Workshop&rft.volume=23&rft.issue=1&rft.pages=%3Cspan+class%3D%22nowrap%22%3E47-%3C%2Fspan%3E53&rft.date=2012&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F43157472%23id-name%3DJSTOR&rft.issn=1064-6051&rft.aulast=Atherton&rft.aufirst=Cassandra&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBolton2011" class="citation book cs1"><a href="/wiki/Andrew_Bolton_(curator)" title="Andrew Bolton (curator)">Bolton, Andrew</a> (2011). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=3pcTzKWTFTIC"><i>Alexander McQueen: Savage Beauty</i></a>. New York City: <a href="/wiki/Metropolitan_Museum_of_Art" title="Metropolitan Museum of Art">Metropolitan Museum of Art</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-58839-412-5" title="Special:BookSources/978-1-58839-412-5"><bdi>978-1-58839-412-5</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230709021545/https://books.google.com/books?id=3pcTzKWTFTIC">Archived</a> from the original on 9 July 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">23 April</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Alexander+McQueen%3A+Savage+Beauty&rft.place=New+York+City&rft.pub=Metropolitan+Museum+of+Art&rft.date=2011&rft.isbn=978-1-58839-412-5&rft.aulast=Bolton&rft.aufirst=Andrew&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D3pcTzKWTFTIC&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><span id="CITEREFFrankel2011" class="citation"><a href="/wiki/Susannah_Frankel" title="Susannah Frankel">Frankel, Susannah</a>. Introduction. In <a href="#CITEREFBolton2011">Bolton (2011)</a>, pp. 17–27.</span></li></ul></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFCallahan2014" class="citation book cs1"><a href="/wiki/Maureen_Callahan" title="Maureen Callahan">Callahan, Maureen</a> (2014). <a rel="nofollow" class="external text" href="http://archive.org/details/champagnesuperno0000call"><i>Champagne Supernovas: Kate Moss, Marc Jacobs, Alexander McQueen, and the '90s Renegades Who Remade Fashion</i></a>. New York City: <a href="/wiki/Touchstone_Books" class="mw-redirect" title="Touchstone Books">Touchstone Books</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4516-4053-3" title="Special:BookSources/978-1-4516-4053-3"><bdi>978-1-4516-4053-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Champagne+Supernovas%3A+Kate+Moss%2C+Marc+Jacobs%2C+Alexander+McQueen%2C+and+the+%2790s+Renegades+Who+Remade+Fashion&rft.place=New+York+City&rft.pub=Touchstone+Books&rft.date=2014&rft.isbn=978-1-4516-4053-3&rft.aulast=Callahan&rft.aufirst=Maureen&rft_id=http%3A%2F%2Farchive.org%2Fdetails%2Fchampagnesuperno0000call&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFElenowitz-Hess2022" class="citation journal cs1">Elenowitz-Hess, Caroline (16 April 2022). "Reckoning with Highland Rape: Sexuality, Violence, and Power on the Runway". <i><a href="/wiki/Fashion_Theory" title="Fashion Theory">Fashion Theory</a></i>. <b>26</b> (3): 403. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F1362704X.2020.1846325">10.1080/1362704X.2020.1846325</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1362-704X">1362-704X</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:229432510">229432510</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Fashion+Theory&rft.atitle=Reckoning+with+Highland+Rape%3A+Sexuality%2C+Violence%2C+and+Power+on+the+Runway&rft.volume=26&rft.issue=3&rft.pages=403&rft.date=2022-04-16&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A229432510%23id-name%3DS2CID&rft.issn=1362-704X&rft_id=info%3Adoi%2F10.1080%2F1362704X.2020.1846325&rft.aulast=Elenowitz-Hess&rft.aufirst=Caroline&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFEvans2003" class="citation book cs1">Evans, Caroline (2003). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=bjQf7LY3aSQC&q=birds&pg=PA141"><i>Fashion at the Edge: Spectacle, Modernity and Deathliness</i></a>. New Haven, Connecticut: <a href="/wiki/Yale_University_Press" title="Yale University Press">Yale University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-300-10192-8" title="Special:BookSources/978-0-300-10192-8"><bdi>978-0-300-10192-8</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230531162733/https://books.google.com/books?id=bjQf7LY3aSQC&q=birds&pg=PA141">Archived</a> from the original on 31 May 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">5 October</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Fashion+at+the+Edge%3A+Spectacle%2C+Modernity+and+Deathliness&rft.place=New+Haven%2C+Connecticut&rft.pub=Yale+University+Press&rft.date=2003&rft.isbn=978-0-300-10192-8&rft.aulast=Evans&rft.aufirst=Caroline&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DbjQf7LY3aSQC%26q%3Dbirds%26pg%3DPA141&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFFairerWilcox2016" class="citation book cs1"><a href="/wiki/Robert_Fairer" title="Robert Fairer">Fairer, Robert</a>; <a href="/wiki/Claire_Wilcox" title="Claire Wilcox">Wilcox, Claire</a> (2016). <i>Alexander McQueen: Unseen</i>. New Haven, Connecticut: <a href="/wiki/Yale_University_Press" title="Yale University Press">Yale University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-300-22267-8" title="Special:BookSources/978-0-300-22267-8"><bdi>978-0-300-22267-8</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/946216643">946216643</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Alexander+McQueen%3A+Unseen&rft.place=New+Haven%2C+Connecticut&rft.pub=Yale+University+Press&rft.date=2016&rft_id=info%3Aoclcnum%2F946216643&rft.isbn=978-0-300-22267-8&rft.aulast=Fairer&rft.aufirst=Robert&rft.au=Wilcox%2C+Claire&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGleason2012" class="citation book cs1">Gleason, Katherine (2012). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=N1H0AwAAQBAJ"><i>Alexander McQueen: Evolution</i></a>. New York City: <a href="/wiki/Race_Point_Publishing" class="mw-redirect" title="Race Point Publishing">Race Point Publishing</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-61058-837-9" title="Special:BookSources/978-1-61058-837-9"><bdi>978-1-61058-837-9</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230119051810/https://books.google.com/books?id=N1H0AwAAQBAJ">Archived</a> from the original on 19 January 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">5 January</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Alexander+McQueen%3A+Evolution&rft.place=New+York+City&rft.pub=Race+Point+Publishing&rft.date=2012&rft.isbn=978-1-61058-837-9&rft.aulast=Gleason&rft.aufirst=Katherine&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DN1H0AwAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHonigman2021" class="citation book cs1">Honigman, Ana Finel (2021). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=I55EEAAAQBAJ&dq=%22alexander+mcqueen%22+eye&pg=PA141"><i>What Alexander McQueen Can Teach You About Fashion</i></a>. London: <a href="/wiki/Frances_Lincoln" title="Frances Lincoln">Frances Lincoln</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7112-5906-5" title="Special:BookSources/978-0-7112-5906-5"><bdi>978-0-7112-5906-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=What+Alexander+McQueen+Can+Teach+You+About+Fashion&rft.place=London&rft.pub=Frances+Lincoln&rft.date=2021&rft.isbn=978-0-7112-5906-5&rft.aulast=Honigman&rft.aufirst=Ana+Finel&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DI55EEAAAQBAJ%26dq%3D%2522alexander%2Bmcqueen%2522%2Beye%26pg%3DPA141&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFKnight2015" class="citation audio-visual cs1"><a href="/wiki/Nick_Knight_(photographer)" title="Nick Knight (photographer)">Knight, Nick</a> (21 May 2015). <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=j1JsPR9cYRk"><i>Alexander McQueen: Susannah Frankel/Nick Knight Interview: Thorn Coat, Graduation Collection 1992</i></a>. <a href="/wiki/Susannah_Frankel" title="Susannah Frankel">Susannah Frankel</a>, interviewee. Showstudio. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231023041932/https://www.youtube.com/watch?v=j1JsPR9cYRk">Archived</a> from the original on 23 October 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">21 October</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Alexander+McQueen%3A+Susannah+Frankel%2FNick+Knight+Interview%3A+Thorn+Coat%2C+Graduation+Collection+1992&rft.pub=Showstudio&rft.date=2015-05-21&rft.aulast=Knight&rft.aufirst=Nick&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3Dj1JsPR9cYRk&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFKnox2010" class="citation book cs1">Knox, Kristin (2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=HKFpDgAAQBAJ"><i>Alexander McQueen: Genius of a Generation</i></a>. London: <a href="/wiki/A%26C_Black" class="mw-redirect" title="A&C Black">A&C Black</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4081-3223-4" title="Special:BookSources/978-1-4081-3223-4"><bdi>978-1-4081-3223-4</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/794296806">794296806</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231015140302/https://books.google.com/books?id=HKFpDgAAQBAJ">Archived</a> from the original on 15 October 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">21 October</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Alexander+McQueen%3A+Genius+of+a+Generation&rft.place=London&rft.pub=A%26C+Black&rft.date=2010&rft_id=info%3Aoclcnum%2F794296806&rft.isbn=978-1-4081-3223-4&rft.aulast=Knox&rft.aufirst=Kristin&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DHKFpDgAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMcWade2021" class="citation journal cs1">McWade, Chris (January 2021). <a rel="nofollow" class="external text" href="https://www.tandfonline.com/doi/full/10.1080/1362704X.2019.1598203">"From Rat to Wraith: Spectral Transgression Against Masculine Tropes in Alexander McQueen's <i>Eclect Dissect</i> (A/W for Givenchy 1997–1998)"</a>. <i><a href="/wiki/Fashion_Theory" title="Fashion Theory">Fashion Theory</a></i>. <b>25</b> (1): 77. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F1362704X.2019.1598203">10.1080/1362704X.2019.1598203</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1362-704X">1362-704X</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:194663301">194663301</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230522202006/https://www.tandfonline.com/doi/full/10.1080/1362704X.2019.1598203">Archived</a> from the original on 22 May 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">22 May</span> 2023</span> – via <a href="/wiki/Taylor_%26_Francis" title="Taylor & Francis">Taylor & Francis</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Fashion+Theory&rft.atitle=From+Rat+to+Wraith%3A+Spectral+Transgression+Against+Masculine+Tropes+in+Alexander+McQueen%27s+Eclect+Dissect+%28A%2FW+for+Givenchy+1997%E2%80%931998%29&rft.volume=25&rft.issue=1&rft.pages=77&rft.date=2021-01&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A194663301%23id-name%3DS2CID&rft.issn=1362-704X&rft_id=info%3Adoi%2F10.1080%2F1362704X.2019.1598203&rft.aulast=McWade&rft.aufirst=Chris&rft_id=https%3A%2F%2Fwww.tandfonline.com%2Fdoi%2Ffull%2F10.1080%2F1362704X.2019.1598203&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFO'Neill2018" class="citation book cs1">O'Neill, Alistair (2018). "Staging Fashion in Somerset House, London". In Vänskä, Annamari; Clark, Hazel (eds.). <i>Fashion Curating: Critical Practice in the Museum and Beyond</i>. London: <a href="/wiki/Bloomsbury_Academic" class="mw-redirect" title="Bloomsbury Academic">Bloomsbury Academic</a>. pp. <span class="nowrap">105–</span>118. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4742-8711-1" title="Special:BookSources/978-1-4742-8711-1"><bdi>978-1-4742-8711-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Staging+Fashion+in+Somerset+House%2C+London&rft.btitle=Fashion+Curating%3A+Critical+Practice+in+the+Museum+and+Beyond&rft.place=London&rft.pages=%3Cspan+class%3D%22nowrap%22%3E105-%3C%2Fspan%3E118&rft.pub=Bloomsbury+Academic&rft.date=2018&rft.isbn=978-1-4742-8711-1&rft.aulast=O%27Neill&rft.aufirst=Alistair&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSavané2021" class="citation journal cs1">Savané, Mélissa Diaby (20 June 2021). <a rel="nofollow" class="external text" href="https://revistas.uminho.pt/index.php/2i/article/view/3157">"The fantasy of ugliness in Alexander McQueen collections (1992–2009): How did literature and the visual arts inspire Alexander McQueen to merge sex and horror in his own art form?"</a>. <i>Revista 2i: Estudos de Identidade e Intermedialidade</i>. <b>3</b> (3): <span class="nowrap">95–</span>108. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<span class="id-lock-free" title="Freely accessible"><a rel="nofollow" class="external text" href="https://doi.org/10.21814%2F2i.3157">10.21814/2i.3157</a></span>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/2184-7010">2184-7010</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231023041933/https://revistas.uminho.pt/index.php/2i/article/view/3157">Archived</a> from the original on 23 October 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">21 October</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Revista+2i%3A+Estudos+de+Identidade+e+Intermedialidade&rft.atitle=The+fantasy+of+ugliness+in+Alexander+McQueen+collections+%281992%E2%80%932009%29%3A+How+did+literature+and+the+visual+arts+inspire+Alexander+McQueen+to+merge+sex+and+horror+in+his+own+art+form%3F&rft.volume=3&rft.issue=3&rft.pages=%3Cspan+class%3D%22nowrap%22%3E95-%3C%2Fspan%3E108&rft.date=2021-06-20&rft_id=info%3Adoi%2F10.21814%2F2i.3157&rft.issn=2184-7010&rft.aulast=Savan%C3%A9&rft.aufirst=M%C3%A9lissa+Diaby&rft_id=https%3A%2F%2Frevistas.uminho.pt%2Findex.php%2F2i%2Farticle%2Fview%2F3157&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFThomas2015" class="citation book cs1"><a href="/wiki/Dana_Thomas" title="Dana Thomas">Thomas, Dana</a> (2015). <a rel="nofollow" class="external text" href="https://archive.org/details/godskingsrisefal0000thom/page/336/mode/2up"><i>Gods and Kings: The Rise and Fall of Alexander McQueen and John Galliano</i></a>. New York City: <a href="/wiki/Penguin_Publishing" class="mw-redirect" title="Penguin Publishing">Penguin Publishing</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-101-61795-3" title="Special:BookSources/978-1-101-61795-3"><bdi>978-1-101-61795-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Gods+and+Kings%3A+The+Rise+and+Fall+of+Alexander+McQueen+and+John+Galliano&rft.place=New+York+City&rft.pub=Penguin+Publishing&rft.date=2015&rft.isbn=978-1-101-61795-3&rft.aulast=Thomas&rft.aufirst=Dana&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fgodskingsrisefal0000thom%2Fpage%2F336%2Fmode%2F2up&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFWatt2012" class="citation book cs1">Watt, Judith (2012). <a rel="nofollow" class="external text" href="https://archive.org/details/alexandermcqueen0000watt/"><i>Alexander McQueen: The Life and the Legacy</i></a>. New York City: <a href="/wiki/Harper_Design" class="mw-redirect" title="Harper Design">Harper Design</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84796-085-6" title="Special:BookSources/978-1-84796-085-6"><bdi>978-1-84796-085-6</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/892706946">892706946</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Alexander+McQueen%3A+The+Life+and+the+Legacy&rft.place=New+York+City&rft.pub=Harper+Design&rft.date=2012&rft_id=info%3Aoclcnum%2F892706946&rft.isbn=978-1-84796-085-6&rft.aulast=Watt&rft.aufirst=Judith&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Falexandermcqueen0000watt%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation book cs1"><a href="/wiki/Claire_Wilcox" title="Claire Wilcox">Wilcox, Claire</a>, ed. (2015). <i>Alexander McQueen</i>. New York City: <a href="/wiki/Abrams_Books" title="Abrams Books">Abrams Books</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4197-1723-9" title="Special:BookSources/978-1-4197-1723-9"><bdi>978-1-4197-1723-9</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/891618596">891618596</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Alexander+McQueen&rft.place=New+York+City&rft.pub=Abrams+Books&rft.date=2015&rft_id=info%3Aoclcnum%2F891618596&rft.isbn=978-1-4197-1723-9&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><span id="CITEREFBethune2015" class="citation">Bethune, Kate. "Encyclopedia of Collections". In <a href="#CITEREFWilcox2015">Wilcox (2015)</a>, pp. 303–326.</span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><span id="CITEREFBreward2015" class="citation">Breward, Christopher. "Su[i]ture: Tailoring & The Fashion Metropolis". In <a href="#CITEREFWilcox2015">Wilcox (2015)</a>, pp. 57–59.</span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><span id="CITEREFFrankel2015" class="citation"><a href="/wiki/Susannah_Frankel" title="Susannah Frankel">Frankel, Susannah</a>. "The Early Years". In <a href="#CITEREFWilcox2015">Wilcox (2015)</a>, pp. 69–79.</span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><span id="CITEREFO'Neill2015" class="citation">O'Neill, Alistair. "The Shining and Chic". In <a href="#CITEREFWilcox2015">Wilcox (2015)</a>, pp. 261–280.</span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><span id="CITEREFRytter2015" class="citation">Rytter, Louise. "Central Saint Martins". In <a href="#CITEREFWilcox2015">Wilcox (2015)</a>, pp. 56–59.</span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><span id="CITEREFTownsend2015" class="citation">Townsend, Eleanor. "Memento Mori". In <a href="#CITEREFWilcox2015">Wilcox (2015)</a>, pp. 159–163.</span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><span id="CITEREFWilcox2015" class="citation"><a href="/wiki/Claire_Wilcox" title="Claire Wilcox">Wilcox, Claire</a>. "Edward Scissorhands". In <a href="#CITEREFWilcox2015">Wilcox (2015)</a>, pp. 25–33.</span></li></ul></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFWilson2015" class="citation book cs1"><a href="/wiki/Andrew_Wilson_(author)" title="Andrew Wilson (author)">Wilson, Andrew</a> (2015). <a rel="nofollow" class="external text" href="https://archive.org/details/alexandermcqueen0000wils_r1n9/page/20/mode/2up?"><i>Alexander McQueen: Blood Beneath the Skin</i></a>. New York City: <a href="/wiki/Simon_and_Schuster" class="mw-redirect" title="Simon and Schuster">Simon and Schuster</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4767-7674-3" title="Special:BookSources/978-1-4767-7674-3"><bdi>978-1-4767-7674-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Alexander+McQueen%3A+Blood+Beneath+the+Skin&rft.place=New+York+City&rft.pub=Simon+and+Schuster&rft.date=2015&rft.isbn=978-1-4767-7674-3&rft.aulast=Wilson&rft.aufirst=Andrew&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Falexandermcqueen0000wils_r1n9%2Fpage%2F20%2Fmode%2F2up%3F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJack+the+Ripper+Stalks+His+Victims" class="Z3988"></span></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span 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typeof="mw:File"><a href="/wiki/File:Commons-logo.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></a></span></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:Jack_the_Ripper_Stalks_His_Victims" class="extiw" title="commons:Category:Jack the Ripper Stalks His Victims">Jack the Ripper Stalks His Victims</a></span>.</div></div> </div> <ul><li><span class="url"><a rel="nofollow" class="external text" href="https://www.tiktok.com/@documoda/video/7076208389214358790">Alexander McQueen's graduate collection "Jack the Ripper Stalks His Victims" for Central St. Martins, 1992</a></span>, hosted by Documoda on <a href="/wiki/TikTok" title="TikTok">TikTok</a></li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=Tr5WZzm1I7Y"><span class="plainlinks">Isabella Blow: Fashion Galore! – <i>Jack the Ripper Stalks his Victims</i></span></a> on <a href="/wiki/YouTube_video_(identifier)" class="mw-redirect" title="YouTube video (identifier)">YouTube</a></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline 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ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}}@media print{.mw-parser-output .navbar{display:none!important}}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Alexander_McQueen" title="Template:Alexander McQueen"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Alexander_McQueen" title="Template talk:Alexander McQueen"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Alexander_McQueen" title="Special:EditPage/Template:Alexander McQueen"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Alexander_McQueen101" style="font-size:114%;margin:0 4em"><a href="/wiki/Alexander_McQueen" title="Alexander McQueen">Alexander McQueen</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Label</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><span class="nowrap"><a href="/wiki/Alexander_McQueen_(fashion_house)" title="Alexander McQueen (fashion house)">Alexander McQueen</a></span></li> <li><span class="nowrap"><a href="/wiki/Sarah_Burton" title="Sarah Burton">Sarah Burton</a> (former creative director)</span></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/List_of_Alexander_McQueen_collections" title="List of Alexander McQueen collections">Collections</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><span class="nowrap"><i><a class="mw-selflink selflink">Jack the Ripper Stalks His Victims</a></i> (1992 graduation collection)</span></li> <li><span class="nowrap"><i><a href="/wiki/Taxi_Driver_(Alexander_McQueen_collection)" title="Taxi Driver (Alexander McQueen collection)">Taxi Driver</a></i> (Autumn/Winter 1993)</span></li> <li><span class="nowrap"><i><a href="/wiki/Nihilism_(Alexander_McQueen_collection)" title="Nihilism (Alexander McQueen collection)">Nihilism</a></i> (Spring/Summer 1994)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Birds_(Alexander_McQueen_collection)" title="The Birds (Alexander McQueen collection)">The Birds</a></i> (S/S 1995)</span></li> <li><span class="nowrap"><i><a href="/wiki/Highland_Rape" title="Highland Rape">Highland Rape</a></i> (A/W 1995)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Hunger_(Alexander_McQueen_collection)" title="The Hunger (Alexander McQueen collection)">The Hunger</a></i> (S/S 1996)</span></li> <li><span class="nowrap"><i><a href="/wiki/Dante_(Alexander_McQueen_collection)" title="Dante (Alexander McQueen collection)">Dante</a></i> (A/W 1996)</span></li> <li><span class="nowrap"><i><a href="/wiki/It%27s_a_Jungle_Out_There_(Alexander_McQueen_collection)" title="It's a Jungle Out There (Alexander McQueen collection)">It's a Jungle Out There</a></i> (A/W 1997)</span></li> <li><span class="nowrap"><i><a href="/wiki/Joan_(Alexander_McQueen_collection)" title="Joan (Alexander McQueen collection)">Joan</a></i> (A/W 1998)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Overlook_(Alexander_McQueen_collection)" title="The Overlook (Alexander McQueen collection)">The Overlook</a></i> (A/W 1999)</span></li> <li><span class="nowrap"><i><a href="/wiki/Eye_(Alexander_McQueen_collection)" title="Eye (Alexander McQueen collection)">Eye</a></i> (S/S 2000)</span></li> <li><span class="nowrap"><i><a href="/wiki/Voss_(Alexander_McQueen_collection)" title="Voss (Alexander McQueen collection)">Voss</a></i> (S/S 2001)</span></li> <li><span class="nowrap"><i><a href="/wiki/What_a_Merry-Go-Round" title="What a Merry-Go-Round">What a Merry-Go-Round</a></i> (A/W 2001)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Dance_of_the_Twisted_Bull" title="The Dance of the Twisted Bull">The Dance of the Twisted Bull</a></i> (S/S 2002)</span></li> <li><span class="nowrap"><i><a href="/wiki/Irere_(Alexander_McQueen_collection)" title="Irere (Alexander McQueen collection)">Irere</a></i> (S/S 2003)</span></li> <li><span class="nowrap"><i><a href="/wiki/Scanners_(Alexander_McQueen_collection)" title="Scanners (Alexander McQueen collection)">Scanners</a></i> (A/W 2003)</span></li> <li><span class="nowrap"><i><a href="/wiki/Pantheon_ad_Lucem" title="Pantheon ad Lucem">Pantheon ad Lucem</a></i> (A/W 2004)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Man_Who_Knew_Too_Much_(Alexander_McQueen_collection)" title="The Man Who Knew Too Much (Alexander McQueen collection)">The Man Who Knew Too Much</a></i> (A/W 2005)</span></li> <li><span class="nowrap"><i><a href="/wiki/Neptune_(Alexander_McQueen_collection)" title="Neptune (Alexander McQueen collection)">Neptune</a></i> (S/S 2006)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Widows_of_Culloden" title="The Widows of Culloden">The Widows of Culloden</a></i> (A/W 2006)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Girl_Who_Lived_in_the_Tree" title="The Girl Who Lived in the Tree">The Girl Who Lived in the Tree</a></i> (A/W 2008)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Horn_of_Plenty" title="The Horn of Plenty">The Horn of Plenty</a></i> (A/W 2009)</span></li> <li><span class="nowrap"><i><a href="/wiki/Angels_and_Demons_(Alexander_McQueen_collection)" title="Angels and Demons (Alexander McQueen collection)">Angels and Demons</a></i> (A/W 2010)</span></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Designs</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><span class="nowrap"><a href="/wiki/Armadillo_shoe" title="Armadillo shoe">Armadillo shoe</a></span></li> <li><span class="nowrap"><a href="/wiki/Bumster" class="mw-redirect" title="Bumster">Bumster</a></span></li> <li><span class="nowrap"><a href="/wiki/Illusion_of_Kate_Moss" title="Illusion of Kate Moss">Illusion of Kate Moss</a></span></li> <li><span class="nowrap"><a href="/wiki/Oyster_dress" title="Oyster dress">Oyster dress</a></span></li> <li><span class="nowrap"><a href="/wiki/No._13_Finale" title="No. 13 Finale"><i>No. 13</i> finale</a></span></li> <li><span class="nowrap"><a href="/wiki/Earthling_(album)#Title_and_packaging" title="Earthling (album)">Union Jack coat</a></span></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">In media</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><span class="nowrap"><i><a href="/wiki/Alexander_McQueen:_Savage_Beauty" title="Alexander McQueen: Savage Beauty">Alexander McQueen: Savage Beauty</a></i> (2011 exhibition)</span></li> <li><span class="nowrap"><i><a href="/wiki/Gods_and_Kings:_The_Rise_and_Fall_of_Alexander_McQueen_and_John_Galliano" title="Gods and Kings: The Rise and Fall of Alexander McQueen and John Galliano">Gods and Kings: The Rise and Fall of Alexander McQueen and John Galliano</a></i> (2015 book)</span></li> <li><span class="nowrap"><i><a href="/wiki/McQueen_(play)" title="McQueen (play)">McQueen</a></i> (2015 play)</span></li> <li><span class="nowrap"><i><a href="/wiki/McQueen_(film)" title="McQueen (film)">McQueen</a></i> (2018 documentary film)</span></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><span class="nowrap"><a href="/wiki/Isabella_Blow" title="Isabella Blow">Isabella Blow</a></span></li> <li><span class="nowrap"><a href="/wiki/Shaun_Leane_(jeweller)" title="Shaun Leane (jeweller)">Shaun Leane</a></span></li> <li><span class="nowrap"><a href="/wiki/Super_Bowl_XXXVIII_halftime_show_controversy" title="Super Bowl XXXVIII halftime show controversy">Super Bowl XXXVIII halftime show controversy</a></span></li></ul> </div></td></tr></tbody></table></div> <!-- NewPP limit report Parsed by 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