Designer report by saraberkescreative

Alexander McQueen

Paper A Designer rkes by Sara Be

13 May 15, 20 Design History of :30 Thursday 8

lexander McQueen was not only one of fashion’s most successful and important designers — he was also one of its most controversial. He had an unconventional approach to design, inspired by layered explorations of history, theatricality, alternative beauty, technology, futurism, and, ultimately, death — themes that resonated with him personally and, as such, lent each of his collections an autobiographical air. Subverting conventional notions of beauty, femininity and the commercial appeal of clothing, McQueen tested the limits of fashion and the limits of his audience with each expertly planned and crafted collection. Although he often shocked his audience, this shock was merely a by-product of his expression of the ideas inside him. He wanted to challenge conventions and he wanted to be different — but mostly, he wanted to be great. He represented something new, unconventional, and exciting, and his audience did not always understand his vision. However, what was universally understood was McQueen’s talent and skill, and no matter how offended people were by his utilization of this skill—how shocked, how awed, how confused — they had to admit that despite the limits of their understanding, he was an incredible and unparalleled designer.

he famous designer came from now-legendary humble beginnings. Alexander “Lee” McQueen was born on March 17, 1969 in London’s East End to a taxi driving father and a stay-at-home mother. He was the youngest of six — three sisters, two brothers — and was creative and eccentric from a very young age. There are stories that he used to draw pictures of Cinderella in elaborate ball gowns on his sister’s bedroom wall at the age of three1, that as a young

boy “he would climb onto the rooftop of an apartment building near his home to watch the kestrels flying overhead”2 after school as a member of the Young Ornithologists Club of Great Britain. In interviews, he claimed that he “always, always wanted to be a designer. I read books on fashion from the age of twelve. I followed designers’ careers. I knew Giorgio Armani was a window-dresser, Emanuel Ungaro was a tailor.”3 His mother, Joyce, who became a night-school teacher in genealogy and social studies after McQueen turned sixteen4, nurtured this creativity — his father, Roland, spurned it. As an openly gay young man, he was relentlessly bullied and teased at school, so he “spent his time escaping into his own world, daydreaming and drawing women’s clothes.”5 He left school at sixteen, with “just a single O-level and one A-level, both in Art,” and, “after seeing a television advertisement highlighting the shortage of apprentices in the tailoring business, McQueen walked into Anderson & Sheppard on Savile Row, tailor to the Prince of Wales, and was hired on the spot.” 6 Given his lack of technical training, a job on Savile Row at the age of seventeen may sound incredible, but “it was the firm’s policy to take young people who had not been to college for the simple reason that they were easier to train.”7 While at Anderson & Sheppard, McQueen learned “how different fabrics handle and move, and how to cut dress

coats, morning coats and jackets… He also learned how to attach a button perfectly and make immaculate buttonholes.”8 These tailoring skills were to later become his signature and set him apart from his contemporaries as a designer. In 1987, he left Anderson & Sheppard to join Gieves and Hawkes, another Savile Row tailor, where he was trained as a trouser cutter. From there he went on to work at Angels and Bermans, the theatrical costumiers. His time at Angels and Bermans influenced him greatly, later seen “in [the] creation of over-the-top, almost operatically grand, costume pieces”9 in his collections. He then moved to working for the Japanese designer Koji Tatsuno, and thence to Milan to work for Italian designer Romeo Gigli. He returned to London in 1992 and attended the illustrious Central Saint Martin’s for a Masters in Fashion Design, where his graduate collection, “Jack the Ripper Stalks His Victims,” “caught the attention of eccentric style scout Isabella Blow. [...] She bought the entire collection, bit by bit,”10 and became one of McQueen’s closest friends, launching him on the path to becoming one of the world’s most beloved fashion designers.

is first few collections “were the most dramatic London had seen since John Galliano’s,”11 and, when Galliano left Givenchy to work for Dior in 1996, McQueen was hired as his replacement. He designed for Givenchy for five years, during which time he continued to work on his own McQueen label. While he was awarded two British Fashion Council Designer of the Year awards for the McQueen label, his work at Givenchy “failed to please buyers,”12 and, as McQueen complained that his “contract with the French label and its parent conglomerate was ‘constraining his creativity’ and that their demand for six collections per year simply did not allow for any creative innovation or evolution to occur within the brand,”13 he parted ways with Givenchy in 2001. To allow

the McQueen label to expand and reach new avenues in retail, McQueen sold a 51% share in his label to the Gucci Group in December 2000. Gucci would invest a reported $54 million and pay McQueen a salary of £1 million per season, allowing him to continue to assert “complete creative control and retain the remaining 49 percent interest [in the company]. Gucci would manufacture McQueen’s womenswear and menswear, expand eyewear and denim lines, launch a perfume and back a new boutique. And after his February 2001 show in London, McQueen would present either in Milan or Paris.”14 Such financial freedom took McQueen to new heights, allowing him to produce some of the most critically lauded collections of his career. In 2003, he was awarded the Best International Designer Award by the Council of Fashion Designers of America, after which he was awarded a Commander of the Most Excellent Order of the British Empire “in the Queen’s list of birthday honors.”15 Clearly, McQueen was on a meteoric trajectory, and his fame and fortune simply kept growing. From 2001 to 2010, he opened multiple flagship stores, dressed high-profile celebrities for award shows, and drew favourable comparisons to some of the greatest fashion designers of all time, including Yves Saint Laurent and Elsa Schiaparelli. McQueen had made it as a designer, and all anyone could talk about was what he would do next. Unfortunately, the world never got to find out. On February 2, 2010, McQueen’s mother Joyce passed away, and “nine days later, the day before Joyce’s funeral, [McQueen] hanged himself at his apartment.”16 His death “coincided with the opening of New York Fashion Week, and there were nods to him in a number of the shows,”17 reinforcing “the notion that his wasn’t just another name on a label. Beyond the front-page stories and worldwide headlines, beyond the reports of his clothes selling out in department stores, there were Diana-like tributes”18 to the designer, fans of his leaving farewell notes and flowers outside his boutiques.

cQueen had always been interested in and influenced by history, especially the history of cruelty and violence in England and Scotland. For his graduation collection for Central Saint Martins, he drew on the history of Jack the Ripper. His mother had found out that “one of the victims had been staying at one of [McQueen’s] relative’s inns in Whitechapel,”19 which, coupled with the dark, twisted story of cruelty and the opportunities for intricate Victorian-style tailoring, made the theme perfect for McQueen. It paired his love and amazing talent for technique with his obsession with ancestry and launched the first of many autobiographical collections. The collection demonstrated McQueen’s “ability to take elements from the past and reinvent them for a modern audience,”20 garnering him comparisons to “John Galliano, who looked to the post-French Revolution Directoire for ideas (equally linked with violence) for his degree collection of 1984.”21 McQueen’s penchant for tailoring was clearly demonstrated in this collection. One of the pieces is a black silk jacket with a bustle-like rear peplum, lined in blood-red silk with front

lapels that hang down to mid-shin and converge in two dagger-like points. The bustle-like peplum shows McQueen’s ease at manipulating fabric, and references the Victorian era of Jack the Ripper. The visible red lining of the lapels hanging down past the hem of the jacket both draw to mind daggers as well as organs, which Jack the Ripper famously sliced open the stomachs of his victims to expose. The design is thus layered in historical and symbolic reference. The silhouette provides a blend of the familiar and the unfamiliar, with the basic form of a blazer being dramatically altered in both the back and the front, but in a way in which the function is not affected. McQueen’s ability to play with form but retain function in this way is indicative of his abilities as a pattern cutter and tailor, and is part of what makes him such a successful designer even though many of his pieces are not necessarily commercially appealing.

rguably McQueen’s most controversial and certainly one of his most famous collections, “Highland Rape,” drew heavily on his Scottish heritage. Most critics believed the collection misogynist and “a tasteless reference to the act of rape,”22 but to McQueen, “it was about genocide—the rape of a culture,”23 the slaughter of the Scottish clans by the English in the eighteenth century.24 He was creating a direct response to Vivienne Westwood’s “fake history [... in which] she makes tartan lovely and romantic and tries to pretend that’s how it was.”25 In McQueen’s opinion, “there could be no sanctified view of history, culture or politics. The past

was neither picturesque nor romantic. Such views merely served to mask vicious realities, and a desire to strip history of its romance defined McQueen’s imagery.”26 The “Highland Rape” collection was shocking in its violence, with dirty, torn dresses exposing the genitals, Victorian-style tailored jackets cut away to reveal breasts and midriffs, and trousers known as “bumsters,” re-introduced from his previous “Nihilism” collection, cut so low they exposed the cleft of the buttocks. However, in the midst of claims of misogyny and disgust were, once again, praises of McQueen’s impeccable tailoring and ability to manipulate fabrics. One outfit from the collection, a tartan tailored jacket cut tight to the midriff, exposing the breasts with wide, curved lapels and sleeves that belled out at the wrists, paired with a tartan “bumster” skirt, clearly shows McQueen’s skills. The curves of the lapels echo the curves of the breasts, which contrast with the tight corset-like buttoned waist of the jacket and emphasizes its’ smallness. The skirt, slung low on the hips, elongates the torso,

changing “the way we look at proportion.”27 McQueen meant to subvert the usual attempts in fashion to create a longer leg, borrowing the aesthetic from “the homoerotic ideal of long torso, short legs,” which exposed what McQueen called “the most erotic part of anyone’s body” — the bottom of the spine.28 The design is wearable in the most basic of ways — the pieces would fit impeccably, tailored to the body. However, the form of the outfit does not render it desirable by the majority of women. At this stage in McQueen’s career, commercial success was not his biggest concern. Although he worked “with a fashion vocabulary, his clothes and presentations had a true art streak”29; he “liked to provoke with his ideas and shock with his ability to create unforgettable, original, sometimes extremist, often breathtaking clothes.”30 Although most women would not necessarily have wanted to wear his clothes, they were memorable, and the “Highland Rape” collection launched his name into the fashion stratosphere as a daring, titillating, offensive anarchist who could cut clothes as well as Yves Saint Laurent.

long with the shocking clothes, another reason Alexander McQueen became a must-see designer were his theatrical shows. Many believed that it was necessary “to see the clothes in the context of his shows” in order “to fully appreciate the breadth of his abilities.”31 His themes extended past the clothes to the

entirety of their presentation. His shows have been described as “shot through with spectacle, mystery, violence, tenderness and beauty.”32 They were meant to provide another layer to the many that made up his collections, transporting his audience “into his world.”33 In fact, the continuous, layered narrative of his collections and shows is so important that when it came time to open his flagship stores, McQueen was adamant that the interiors be designed “to connect the narrative of the shows with the customer.”34

cQueen’s references “went beyond fashion, into art, film, and theater,”35 exemplified in an entire collection inspired by Alfred Hitchcock’s “The Birds” and called the same. It was a collection that was also inspired by McQueen’s fascination with how birds “moved and the motion of taking flight,”36 as well as by the tattoos of swallows that, for McQueen, “represented masculine courage and endurance.”37 He experimented in this collection “with plastic and out-ofcontext, shocking prints,” took “inspiration from nature” and created the silhouette of a “new, empowering shoulder” in a way that drew comparison to “the experimental and, in her time, controversial designer Elsa Schiaparelli.”38 The drama of the collection reached its zenith in McQueen’s choice of the couture corsetiere Mr. Pearl “to make a corset and to model it” in his collection.39 This was the

first collection in which McQueen had a man walk the runway dressed as a woman, which he declared was not for the purpose of drag, but, rather, “was about an alternative notion of perfection.”40

lternative notions of beauty and the creation of a new silhouette were important themes in McQueen’s work, seen in all of his collections. The “bumster” trousers were one of the first examples of his extreme experimentation with silhouette and how this could change a woman’s body. In his designs, McQueen “wanted to move ‘proportions away from the traditional, transcending what we think is the norm for women to look like,’ ”41 and create something fresh that had not been seen before in modern clothing. In his “Willows of Culloden” collection, McQueen designed “with a side profile view in mind,” in which he created “some of the fantastic S-bend shapes of the 1870s and 1880s, with emphasis on the derriere.”42 McQueen’s idea of silhouette was one of “distortion, displacement emphasis and a challenge to Western ideas of sensuality.”43 He utilized his skills with tailoring and construction in order to “play with the shape of the body,”44 much like Cristobal Balenciaga did in his time with designs such as the Cocoon Coat. However, the key difference

between designers like Balenciaga and McQueen is that McQueen’s silhouettes are much more shocking, provocative, and violent. Whereas Balenciaga’s silhouettes were often soft and emphasized the female figure in a conventionally attractive way, McQueen’s silhouettes “often seem to torture and contort beauty.”45 He often utilized extremes in his work, in both proportion and materials, to attempt to create a beauty that is in ways dangerous or debilitating. He claimed to “find beauty in the grotesque,” that he wanted to draw attention to the things people commonly ignored, and force them to look at them.46 His violent aesthetic “was not only thematic but also intrinsic to his cutting techniques and his methods of construction.”47 This can be seen in various pieces: the gold plastic bodice with gold paillettes and peacock feathers of his bodysuit from his “In Memory of Elizabeth How, Salem 1692” collection; the aluminum “spine” corset from “The Overlook” collection; the beige leather dress and metal wire crinoline from his “Eshu” collection; the mauve silk ensemble with silk and fresh flowers from “Sarabande”; the mussel shell bodice from “Voss”; the resin “Jellyfish Armadillo” boots with iridescent enamel paillettes from

“Plato’s Atlantis” — these are but a few of many examples. McQueen’s purpose with these pieces was to challenge the conventions of fashion, and his ability to work with such varied materials and still create clothing, still retain function with such a wildly out-of-control form, is a testimony to his skills as a designer.

lthough McQueen’s skills with fabric and tailoring were very much entrenched in the past, in knowing how to classically tailor a coat or create a corset, and although he was very interested in history, specifically his own ancestry and the past of his people, McQueen was also interested in the future. For his “No. 13” collection, he had model Shalom Harlow walk out onto the runway wearing a plain white A-line dress, belted at the breasts. When she reached the end of the runway, the platform she was standing on began to spin, and two spray-painting robots, modeled after the technology used to paint cars, rose up from under the stage and sprayed her with green and black paint while she slowly spun on the runway. Meant to look like a “dying swan,” McQueen was relinquishing his control as a designer to the randomization of spray-painting robots. The result was haphazard, one-of-a-kind, and inimitable. For his “Widows of Culloden” collection, Kate Moss appeared “as an otherworldly apparition, wraithlike in a glass pyramid,” a

hologram at the head of the runway, “dancing in slow motion, with semicircles of chiffon fluttering about her.” 48 McQueen’s idea was “to show that she was more ethereal, bigger than the situation she was in,” representing “the essence of the eternal female and of the ‘Widows of Culloden.’”49 With both these uses of technology in his collections, McQueen was showing that he “never felt threatened by the changing landscape of media,” 50 unlike many of his design contemporaries. He was also, once again, subverting the traditions of the form of fashion, of its limits, and proving himself a forward-thinking, innovative designer at the forefront of the technological revolution.

long with technology, McQueen presented varied views of the future in his designs. Most obvious in the last collection presented while he was living, McQueen “touched on socially-poignant themes including climate change and evolution; some of the clothes whispered of potential biological hybridization of women with sea mammals in the post-biological meltdown future.”51 This collection, titled “Plato’s Atlantis,” took inspiration “from the sea and reptilian forms”52 and utilized new printing technology to create “distorted images of jellyfish, moths, fish and snakeskin.”53 The collection emphasized fitted bodies and panniered hips, in some cases with sharp shoulders

as well. Each item of clothing was created with multiple shapes pieced together, reminiscent of an insect exoskeleton or a fish’s many-layered scales. The prints were mirrored across the center of the bodies, creating distorted, Rorschach-like patterns and a mechanized symmetry. The shoes were extreme, modeled after a ballet dancer’s point shoes; some looked like the claws of crabs, where others brought to mind barnacles or coral. Fabrics were expertly manipulated into three-dimensional folds, creating an extreme silhouette simultaneously referencing the past and the future. The materials used were diverse, one outfit encasing the body neck to foot in shimmering plastic paillettes, expertly layered like fish scales. The combination of pattern, material, and complex shape on the pieces could have been overwhelming, but McQueen’s keen eye promoted balance amid the complex shape and pattern, drawing the eye to the beauty of the combined elements and creating a sense of harmony instead of chaos. Each piece primarily utilizes analogous colours, with small bursts of vivid, complementary colours to emphasize the shape by drawing attention to the structural folds or creative materials. The colour palettes are rooted in the natural world, emphasizing earth and water, in hues of brown, green and yellow or blue, green and gold. The variety of materials used in each piece creates visual interest through contrast — for example between the soft silk of the fabric and the hard gold of the pailletes in one dress, or the deep blues of the chain-mailstyle paillette bands and the soft froth of chiffon — as well as attest to McQueen’s technical skills as a designer. This collection also shows McQueen’s evolution as a designer into creating more commercially viable clothing (the dresses were a huge hit among celebrities, with many wearing them to award shows) while retaining the fantastical avant-garde elements he is known for.

owever beautiful, the “Plato’s Atlantis” collection is not one promoting a necessarily hopeful future. In this future, humans have effectively ruined the planet, and have adapted in strange, fantastical ways to survive. This darker view of the future is characteristic of McQueen and the reoccurring themes of cruelty, death, and melancholy in his collections. For his “Sarabande” collection, McQueen created a dress out of decaying flowers, the petals of which fell off the dress as the model walked down the runway — a beautiful, melancholic meditation on the dichotomy of life and death. McQueen believed that since “we all carry both the dark and the light with us,” he could see no reason “why it shouldn’t be reflected in [his] work.”54 Along with his refusal to romanticize the past, most poignantly shown in his “Highland Rape” collection, McQueen refused to gloss over the truest fact in life: that it always concludes with death. His collections “reflected a cold realism about life’s unfairness, its cruelties, and inevitable end,”55 one that was not seen in the work of John Galliano, Vivienne Westwood, Ralph Lauren, or really any of his contemporaries, who “were romanticizing workers, vagabonds, and corporate strivers” when McQueen “was more inclined to highlight their calloused hands, bloodied feet, and shredded dignity.”56 Although the prevailing themes of fashion are beauty and romance, selling a lifestyle to a consumer that contains no darkness, harshness, or reality, McQueen stubbornly refused to pander to this ideal. His designs “undermined the proposition that art — or in his case, fashion — had to be positive.”57 His work “exceeded the superficiality of his industry,”58 forcing his audience to see beyond beautiful clothing to life’s truths as he personally experienced them.

cQueen was like an artist in many ways, but different in that he operated within the commercial sphere and achieved commercial success. Even at their most limited relations to what was commonly understood as clothing, his designs always remained in the sphere of function. His pieces were all wearable — although many would create fantastic discomfort or be considered wildly inappropriate in public — they were cut to fit a body and be worn by a person, not to hang on a wall and adorn a space. Although he claimed to never care about mass-market appeal, he still managed to achieve it, above and beyond many designers for whom it is the sole purpose. Through his work, McQueen was attempting “to bust fashion out of its commercial confines and reinvent its role in contemporary society”59 as something that was not superficial, but instead promoted a meaning or idea beyond its function to cover and adorn the body. His designs outraged people, shocked them, made them question his sanity, but they also made people curious, awestruck, and amazed. His abilities with fabric and material were unparalleled, his collections layered in philosophies and stories that connected him personally

to every item of clothing he created. Perhaps it is because of McQueen’s connection to his work, because it always meant something even if the audience did not initially understand what that was, that made it so fascinating. Looking at his clothing is like looking into Alexander McQueen’s mind — it is a voyeuristic experience not common in fashion, a personal look at the man who shied away from the public eye for the majority of his life. Many designers aspire to be different when they would be more successful aspiring to be good. Alexander McQueen was both: a risk-taker who turned fashion shows into spectacles and clothing into functional art. Many described his final collection, the one he was completing at the time of his death, as his best, leading people to wonder where he would have taken fashion if he were still alive today. Most likely he would have continued to inspire awe, amazement, and design incredible clothing, all the while shocking and enraging people. Most importantly, he would have continued to change the fashion industry, to push his peers to design better clothing, and to expand the limits and understanding of the purpose of design.

1 Kristin Knox, Alexander McQueen: Genius of a Generation (London: A&C Black Publisher’s Limited, 2010), 7. 2 Andrew Bolton, Alexander McQueen: Savage Beauty (New York: The Metropolitan Museum of Art, 2011), 17. 3 Bolton, Savage Beauty, 17-18. 4 Bolton, Savage Beauty, 17. 5 Knox, Genius 7. 6 Knox, Genius 7. 7 Judith Watt, Alexander McQueen: The Life and the Legacy (New York: Harper Design, 2012), 17. 8 Watt, Life and Legacy, 21-22. 9 Knox, Genius, 8. 10 William Middleton, “The World of McQueen,” Harper’s Bazaar 3497 (April 2003): 184. MasterFILE Premier, EBSCOhost. 11 Middleton, “The World of McQueen.” 12 Watt, Life and Legacy, 131. 13 Knox, Genius, 10-11. 14 Watt, Life and Legacy, 184. 15 Watt, Life and Legacy, 205. 16 Watt, Life and Legacy, 269. 17 Ingrid Sischy, “A Man of Darkness and Dreams,” Vanity Fair 596 (April 2010): 152. MasterFILE Premier, EBSCOhost. 18 Sischy, “Darkness and Dreams.” 19 Middleton, “The World of McQueen.” 20 Watt, Life and Legacy, 39. 21 Watt, Life and Legacy, 39. 22 Brenda Polan and Roger Trerde, “Alexander McQueen” in The Great Fashion Designers (New York: Berg, 2009), 244. 23 Watt, Life and Legacy, 80. 24 Polan and Tredre, “Alexander McQueen,” 244. 25 Watt, Life and Legacy, 80. 26 Caroline Evans, “Desire and Dread: Alexander McQueen and the

Contemporary Femme Fatale,” The Berg Fashion Library (2001), doi: 10.2752/9780857854032. 27 Watt, Life and Legacy, 62. 28 Watt, Life and Legacy, 62-3. 29 Sischy, “Darkness and Dreams.” 30 Sischy, “Darkness and Dreams.” 31 Watt, Life and Legacy, 56. 32 Polan and Tredre, “Alexander McQueen,” 245. 33 Watt, Life and Legacy, 56. 34 Watt, Life and Legacy, 183. 35 Watt, Life and Legacy, 59. 36 Watt, Life and Legacy, 74. 37 Watt, Life and Legacy, 74. 38 Watt, Life and Legacy, 76. 39 Watt, Life and Legacy, 74. 40 Watt, Life and Legacy, 76. 41 Watt, Life and Legacy, 62-63. 42 Watt, Life and Legacy, 231. 43 Watt, Life and Legacy, 231-232. 44 Polan and Trerde, “Alexander McQueen,” 243. 45 Bradley Quinn, “Twenty-first-century Bodies,” The Berg Fashion Library (2002), doi: 10.2752/9781847888877. 46 Polan and Tredre, “Alexander McQueen,” 243. 47 Evans, “Desire and Dread.” 48 Watt, Life and Legacy, 228-229. 49 Watt, Life and Legacy, 28-229. 50 Knox, Genius, 18. 51 Knox, Genius, 16. 52 Watt, Life and Legacy, 261. 53 Watt, Life and Legacy, 262. 54 Polan and Trerde, “Alexander McQueen,” 243. 55 Robin Givhan, “Alexander McQueen’s Haunting World,” Newsweek 157, 16 (April 18, 2011): 36. MasterFILE Premier, EBSCOhost. 56 Givhan, “Haunting World.” 57 Givhan, “Haunting World.” 58 Givhan, “Haunting World.” 59 Knox, Genius, 7.

Bolton, Andrew. Alexander McQueen: Savage Beauty. New York: The Metropolitan Museum of Art, 2011. Evans. Caroline. “Desire and Dread: Alexander McQueen and the Contemporary Femme Fatale.” The Berg Fashion Library (2001). doi: 10.2752/9780857854032. Givhan, Robin. “Alexander McQueen’s Haunting World.” Newsweek 157, no. 16 (April 18, 2011): 36. MasterFILE Premier, EBSCOhost. Knox, Kristin. Alexander McQueen: Genius of a Generation. London: A&C Publisher’s Limited, 2010. Middleton, William. “The World of McQueen.” Harper’s Bazaar no. 3497 (April 2003): 184. MasterFILE Premier, EBSCOhost. Polan, Brenda and Roger Trerde. “Alexander McQueen.” In The Great Fashion Designers, 243-245. New York: Berg, 2000. Quinn, Bradley. “Twenty-first-century Bodies.” The Berg Fashion Library (2002). doi: 10.2752/9781847888877. Sischy, Ingrid. “A Man of Darkness and Dreams.” Vanity Fair no 596 (April 2010): 152. MasterFILE Premier, EBSCOhost. Watt, Judith. Alexander McQueen: the Life and the Legacy. New York: Harper Design, 2012.