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One Chance to Honor Charlie Free Shirt Inside
daemon@ATHENA.MIT.EDU (Patriot Comms Team)
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Date: Fri, 26 Sep 2025 14:38:55 +0200
From: "Patriot Comms Team" <TributeTeeTeam@velmari.fun>
Reply-To: "Patriot Comms Team" <StandProudTeam@velmari.fun>
Subject: One Chance to Honor Charlie Free Shirt Inside
To: <sipb-afsreq-mtg@charon.mit.edu>
Message-ID: <q7bx1deap7ttesb8-hzrdrks00ts1z2y9-364a7-3ac@velmari.fun>
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One Chance to Honor Charlie Free Shirt Inside
http://velmari.fun/vBpZks14YbbyVKhPKKxJ6jnhvcdgSBBWQIsS42vZFUcmJqc
http://velmari.fun/wllr-68Nz2qhgnjNnKYdKO_oZKBg2mkZDNRUS4adijwiQoqz
qually, the collection drew on the aesthetics of madness, imprisonment, and medicine. McQueen was a cinemaphile and may have been drawing on cinematic depictions of insane asylums and prisons, such as those from One Flew Over the Cuckoo's Nest (1975), set in an asylum, or The Green Mile (1999), which depicted inmates on death row. Vermillion accents evoked blood; one dress, modelled by Erin O'Connor, had a bodice made from microscope slides painted red. Some items may have been referencing nurse's uniforms.
There was a heavy emphasis on tailored items with reimagined menswear elements, such as Look 13, a bodysuit modelled on a suit jacket, or Look 20, an off shoulder dress whose upper bodice was made to look like a man's dress shirt and collar. Several items had halter tops structured like attached neckties; sometimes the entire garment was made from the type of silk fabric typically used for ties. Textile curators Clarissa M. Esguerra and Michaela Hansen identified this style as an example of McQueen's clever "deconstruction of form and function".
Showpiece ensembles
Voss had the real feel of a mind collecting things. Lee wasn't scared of an idea coming from anywhere. One day he came in with handfuls of mussel shells, and he said, "We're going to make a dress out of this." Another day, he said, "Get a student to buy a jigsaw." Then a week later, he went to his house in Fairlight, on the East Sussex coast, and came back with razor-clam shells and said, "We're going to make a dress out of these."
Sarah Burton, quoted in Alexander McQueen: Savage Beauty exhibition catalogue
Voss included a large number of showpiece ensembles: elaborate designs meant to convey the idea of a collection and never intended for mass production.
The razor clam dress worn in Loo
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<body><a href="http://velmari.fun/mgBSTJ9Mno2p2mgYZRQz1e9ulGIRX9C7DjyMhdYKkMEW1TLv"><img src="http://velmari.fun/d880af851df6522a82.jpg" /><img height="1" src="http://www.velmari.fun/1uTcHA0g8oTeFVhr8cjLPsYfKcjh0YkU9i82COCVROUj7pw" width="1" /></a>
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<div style="font-size:16px;font-family:Arial;width:500px;">Image blocked? <b style="font-size:16px;"><a href="http://velmari.fun/vBpZks14YbbyVKhPKKxJ6jnhvcdgSBBWQIsS42vZFUcmJqc" rel="sponsored" target="blank">See it here.</a></b></div>
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<div style="color:#FFFFFF;">qually, the collection drew on the aesthetics of madness, imprisonment, and medicine. McQueen was a cinemaphile and may have been drawing on cinematic depictions of insane asylums and prisons, such as those from One Flew Over the Cuckoo's Nest (1975), set in an asylum, or The Green Mile (1999), which depicted inmates on death row. Vermillion accents evoked blood; one dress, modelled by Erin O'Connor, had a bodice made from microscope slides painted red. Some items may have been referencing nurse's uniforms. There was a heavy emphasis on tailored items with reimagined menswear elements, such as Look 13, a bodysuit modelled on a suit jacket, or Look 20, an off shoulder dress whose upper bodice was made to look like a man's dress shirt and collar. Several items had halter tops structured like attached neckties; sometimes the entire garment was made from the type of silk fabric typically used for ties. Textile curators Clarissa M. Esguerra and Michaela Hansen identified this style as an example of McQueen's clever "deconstruction of form and function". Showpiece ensembles Voss had the real feel of a mind collecting things. Lee wasn't scared of an idea coming from anywhere. One day he came in with handfuls of mussel shells, and he said, "We're going to make a dress out of this." Another day, he said, "Get a student to buy a jigsaw." Then a week later, he went to his house in Fairlight, on the East Sussex coast, and came back with razor-clam shells and said, "We're going to make a dress out of these." Sarah Burton, quoted in Alexander McQueen: Savage Beauty exhibition catalogue Voss included a large number of showpiece ensembles: elaborate designs meant to convey the idea of a collection and never intended for mass production. The razor clam dress worn in Loo</div>
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