导读：上周六，“Alexander McQueen：野性美”的作品回顾展正在纽约大都会艺术博物馆进行，以纪念这位已故的著名英国设计师。在众多作品中也包含了为英国王妃Kate Middleton设计的婚礼礼服。McQueen秀引起了纽约民众的极大欢迎，喜爱时尚的女孩们纷纷前来一睹其风采，即使要排上几小时的长队也毫不在乎。甚至有人模仿制作了McQueen的作品穿在身上，引起了极大关注。
Even after midnight on a rainy Saturday, they waited at the Metropolitan Museum of Art: a line of about 1,500 people snaking through the Medieval Hall, past the Japanese ceramics and Mesopotamian artifacts displayed along the Great Hall balcony, past centuries of sculptures, paintings and other objects before they finally arrived, giddy from an hours-long wait.
“Yay!” one woman cried, as a guard lifted the final slim, brown rope on “Alexander McQueen: Savage Beauty,” a retrospective exhibition of the work of the British designer, who killed himself last year at 40. “We made it!” another woman called out as the crowd burst into applause.
Every so often, a seemingly esoteric event in New York captures the public imagination, reaching the buzzy, must-see status more often reserved for canonized artists like Vincent van Gogh or Leonardo da Vinci. In the case of the McQueen show — whose popularity surprised museum officials and led them to extend entry hours to midnight on Saturday and Sunday, the final two days of the exhibition — it was the confluence of several factors that raised interest, Harold Holzer, a museum spokesman, said. There was the wedding gown for Kate Middleton, from McQueen’s studio; the sad story of his abbreviated life; and the viral nature of online word-of-mouth.
The exhibition attracted more than 650,000 visitors since it opened on May 4, and 15,000 on Saturday alone. It is among the 10 most visited shows in the museum’s history, and the most popular special exhibition ever at the Costume Institute, which is housed at the museum.
On Saturday night, when the wait ranged from 90 minutes to three hours, several people said they had come on the recommendation of friends who told them the exhibition was not to be missed. Erika Fioravanti, a graphic designer, had already seen it once and was so impressed that she decided to come back with her friend Erick Rivero, a lawyer who said he loved clothes. The two were near the end of the line around 11:30 p.m. and seemed unfazed that they would probably still be at the museum at 2 a.m. “It’s Saturday night; we’d be up anyway,” Mr. Rivero said, as Ms. Fioravanti added, laughing, “I’m surprised we got out this early.”
Some people, having heard that the wait could reach five hours, came prepared. Sara Noble, an arts administrator who was there with a friend, Matthew Tully, an administrative assistant and bartender, said she had read about seven of the Neil Gaiman short stories she had brought with her. “All of my friends had said you just absolutely have to go see this, and I guess I’m crazy enough to wait in line this long,” she said. “It seems almost like the event is waiting in line, and then getting to see the exhibit.”
DeeAnne Gorman, an office manager and performer who arrived with one friend and made three others while waiting, echoed Ms. Noble’s sentiment. “We were saying that it should be a reality show, ‘The Line,’ like who makes it, who wasn’t voted out of the line,” she said, laughing.
“Holy bananas!” one woman cried, walking toward a dress of black duck feathers with a silhouette like an enormous bow enveloping the shoulders atop a heart hugging the hips to the knees. A companion simply said, “Wow,” over and over, shaking her head in apparent disbelief. Another woman stood in a corner to look at the back of a gray and white silk organza dress printed with line drawings of birds and holy figures. “His fabric is, like, so extraordinary,” she said to a companion. “He knows how to cut it and gather it. Just the way it ends up in the right place — that’s, like, tailoring.”
As the evening wore on, it was the outfits of the visitors that began to attract attention as the look of the crowd shifted from casual to extreme. Around midnight, a party promoter known as Ladyfag was examining the art in the Medieval Hall, unconcerned by the prospect of a long wait in 6.3-inch platform ankle booties of black leather, with curved white heels fashioned like spines that were reminiscent of McQueen but designed by Dsquared. She said she never wore flats, not even “to the bodega.” Asked if that meant her feet did not ache, she smiled broadly and said, “I didn’t say that.”
Then there was Bella Richard, 14, the recipient of stares and compliments for her sleeveless red tartan and tulle cinched waist dress: a copy of a design from McQueen’s “Widows of Culloden” collection. She fell in love with it when she saw the show two weeks ago, staring at it for half an hour, she said.
“So we spent all week making the dress,” her mother, Beth, a seamstress, said, “and we had it almost all finished and she said, ‘Mom, I want the other one,’ the spray-painted one. So we made that.”
“I’ve still got spray paint on me,” Bella said, lifting the first dress to show a leg speckled in green. She said she would wear the other dress on Sunday, when she came to the show yet again.
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