Though McQueen lacked personal intimacy with Eye’s diverse cultural references, certain design details demonstrate his appreciation for their aesthetics: a red, white, and black striped miniskirt is reminiscent of French-influenced silks fashionable in eighteenth-century Turkey, while its top with partially detached sleeves emulates Turkish garment construction.

Eye presumes a dichotomy between the West/Christianity and East/Islam, perpetuating a reductive idea rooted in colonialism and art historical movements, such as turquerie, that Western art and dress hold a monopoly on influencing—and deriving inspiration from—outside cultures.

Aimé-Jules Dalou’s graceful female caryatids evoke the concept of women as columns, or pillars of strength, in his personification of continents (from left to right): the Americas, Africa, Europe, and Asia. The artist’s rendering illustrates French art’s roots in classical models, while reiterating the influence of French colonial expansion. Here, the artist reinforces cultural stereotypes begun in the seventeenth century and exemplifies nineteenth-century representations of the exotic, natural female constructed for the European male gaze.

The phoenix—a mythical bird that cyclically regenerates, symbolizing everlasting life, renewal, and the sun—was often used in revival styles in combination with other neoclassical motifs. An early-nineteenth-century blue-and-white textile draws upon this Greco-Roman imagery, as does McQueen’s long white dress with confronting birds beaded on a sheer back panel. Although show notes for the collection describe them as phoenixes, this motif has also been interpreted as the swan, a bird that likewise features prominently in classical mythology.

Gladiators, who fought in arenas as entertainment, inspired this silver look with a short, pleated skirt and belt, quilted with confronting hippocamps, Hellenistic seahorses who pulled Neptune’s chariot. Artists revived this mythological creature—a symbol of both the sea and the netherworld—during the Renaissance, as seen in a wine cistern illustrating scenes of the water god and his seahorse. A decorative and expertly constructed golden Neptune rides a hippocamp made in part of an exotic curling turban shell.

McQueen’s diaphanously draped green dress recalls the sleeves and torso of a belted Ionian chiton. Further revealing the body, a shaped sheer band of net along the waist and hips, encrusted with beads and crystals, resembles the lower portion of the molded cuirass (lorica) worn by the Roman military to protect their torsos. A similar bodice is depicted in Jacques-Antoine Beaufort’s The Oath of Brutus, on view on the adjacent, in which it is worn under a red cloak (or chlamys).

McQueen’s Fall/Winter 2010–11 collection Untitled (Angels and Demons) presented luxurious fabrics drawn from art of the Northern Renaissance, a favorite period of the designer’s and a touchstone throughout his career. In this dress, photographs of three Hieronymus Bosch paintings—The Temptations of Saint Anthony, The Last Judgment, and The Garden of Earthly Delights—were digitally composited and woven in jacquard.