Kate Moss for Alexander McQueen

In the pinnacle year that sees Kate Moss reach forty, from the iconic shots of a fifteen year old Moss shot by Corinne Day, to the present, where after twenty-five years in the industry she has walked catwalks, fronted brands, campaigns and has turned her hand at design, charity and vocals. This year sees this British icon front the SS14 Alexander McQueen campaign.

Moss had a long-term friendship with the late designer and for the F/W 2006 collection at Paris Fashion Week, Kate, draped in yards of organza, was apotheosised into an ethereal holographic stereogram by artist Chris Levine, thus modernising a nineteenth century optical illusion for British luxury fashion house Alexander McQueen.
This year, marks the first time she has fronted the McQueen brand, for yet another opulent house of McQueen idea, seeing Kate revising her phantom ways in a set of stills and an accompanying film. The stills accompany a futuristic film inspired by 1960’S British thriller ‘Peeping Tom‘, all directed by photographer Steven Klein in East London. The stills and film, see Moss wearing her hair as a slicked back, pixie-cut, acid yellow look and adorned in gladiator-esque pieces.

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In this set of strong images, the McQueen brand highlights the aesthetically strong SS14 collection. Burton “didn’t want it to feel too referenced to a period or a theme”, thus forming an eclectic basis for this enchanting collection of black, white, red and blue and incredible structure. A desirable collection, contrasting Burtons edgy leather creations to the bright hair and eerie setting.
The androgynous supermodel is not alone, she is joined by a mini-Moss replica doll who features in shots wearing the same outfits as Kate.

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The accompanying haunting short film noir, beginning with the glowing pixie-cut brightening up this voyeuristic dingy thriller, sees the mini-moss tossed in the trash of uninhabited London streets, before the tantalisingly sexy Moss is watched undressing before being illuminated in a set of unaffiliated images in the greatness that is Dominick Sheldon’s cinematography.

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