Alexander McQueen’s Nephew Pays Tribute To The Late Designer With New NFT Artwork
Bazaar Art speaks to Gary James McQueen about his thoughts on digital art, the message behind the iconic Savage Beauty portrait and his tribute to his late uncle
Harper’s Bazaar Arabia (HBA) Tell us about your background and your experience as the Head Textile Designer for Alexander McQueen.
Gary James McQueen (GJM): Before I started at Alexander McQueen, I worked in publishing covering a wide range of digital processes. I didn’t know anything about the fashion industry when I was first given the opportunity to join the menswear team by Lee, but I learned quickly and adapted my digital and artistic skills using the clothing as a 3D canvas. It was a career choice that I never would have thought of pursuing, but it finally felt like I’d come home.
HBA: What message does the Savage Beauty portrait portray and what were the inspirations behind the work?
GJM: The Savage Beauty portrait was a private request by Lee. He approached me one day and said he wanted his face to morph into a skull. I took the portrait shot of Lee on a camera he gifted me and the golden skull I created from photos of tower bridge that I’d taken. I then took these two images and created ten frames of animation which were then built into the lenticular artwork to create a fluid metamorphosis from Lee’s face to a skull.
HBA: Why was it important to depict both life and death in one work?
GJM: For the Vanitas Skull artwork, I was asked by the directors of the McQueen documentary film to create an image that captured Lee’s spirit. The skull has long been synonymous with Lee, and I instantly had the vision of referencing the painting style of the Vanitas, in which life and death are both depicted within one image. This balance of dark versus light composed in such a romantic way just seemed very fitting.
HBA: Has fashion been a source of inspiration for this particular work?
GJM: I rarely reference fashion to be honest. I usually have quite strong visions of what a finished piece of art looks like before I’ve manifested it. These are usually inspired by a combination of things, ranging from music, film, art, nature and science. It’s a bit hard to explain, but it’s like I have an immense archive of imagery in my head that just fits together to create a new concept. It could be described as a feeling more than a conscious effort.
HBA: What prompted you to make the work available in the digital realm?
GJM: I’ve worked in the digital medium for over 20 years now, and have been at the forefront of using new technology not only within the art world, but also the fashion industry.
We are now entering a new art movement, which throughout history is usually a reflection or response to something significant happening in society. The significant happening of our time being COVID.
Digital art has long been debated, whether it is real art or not, as there is the assumption that it is easier to replicate compared to something more traditional such as a painting on canvas. Although up until now this may have been true, now with the ability to embed a piece of digital art with a unique code on the blockchain that can’t be forged, you suddenly have an asset with value.
HBA: Tell us about your experience with NFTs and lenticular art, and your thoughts on the technology.
GJM: I have a number of assets that could lend themselves as NFTs, ranging from digital artworks such as the Savage Beauty or Vanitas Skull, but I also create 3D digital sculptures, and most recently a ground-breaking digital fashion show in which I can see every look being a collectible item within the NFT market.
The possibilities are immense, but I do think it’s important to approach it in the right way, being selective of what work you put out and maintaining your standards and integrity as an artist. garyjamesmcqueen.com
Images courtesy of the artist