title: Indiana Jones and the Temple of Doom

text: Danny Daniels choreographed the opening music number "Anything Goes". Capshaw learned to sing in Mandarin and took tap dance lessons. However the dress was fitted so tightly that Capshaw was not able to dance in it. Made by Barbara Matera out of original 1920s and 1930s beads, the dress was one of a kind. The opening dance number was actually the last scene to be shot, but the dress did feature in some earlier location shots in Sri Lanka, drying on a nearby tree. Unfortunately an elephant had started to eat it, tearing the whole back of the dress. Consequently, some emergency repair work had to be done by Matera with what remained of the original beads, and it was costume designer Anthony Powell who had to fill in the insurance forms. As to the reason for damage, he had no option but to put "dress eaten by elephant".


title: Indiana Jones and the Temple of Doom

text: In a 2003 documentary on the making of the film (first released when the original trilogy made its debut on DVD), costume designer Anthony Powell stated that only one evening dress was made for Capshaw due to the limited amount of original 1920s and 1930s beads and sequins (story above). However, there have been more than one of these dresses on display at the same time in different countries, so this story cannot be entirely true – from late 2014, a dress was on display at the Hollywood Costume exhibition in Los Angeles (exhibition ran from October 2, 2014 – March 2, 2015). At the very same time, the travelling "Indiana Jones: Adventure of Archaeology" exhibition was on display in Edmonton in Canada (October 11, 2014 – April 6, 2015) and there featured another of the red and gold dresses. It has also been confirmed by an embroiderer working at Barbara Matera Ltd. at the time, that three dresses were in fact made initially: one for Kate, one for the stunt double, and one "just in case".


title: Indiana Jones and the Temple of Doom

text: Production designer Norman Reynolds could not return for "Temple of Doom" because of his commitment to "Return to Oz". Elliot Scott ("Labyrinth", "Who Framed Roger Rabbit"), Reynolds' mentor, was hired. To build the rope bridge the filmmakers found a group of British engineers from Balfour Beatty working on the nearby Victoria Dam. Harrison Ford suffered a severe spinal disc herniation by performing a somersault while filming the scene with the assassin in Jones's bedroom. A hospital bed was brought on set for Ford to rest between takes. Lucas stated, "He could barely stand up, yet he was there every day so shooting would not stop. He was in incomprehensible pain, but he was still trying to make it happen." With no alternatives, Lucas shut down production while Ford was flown to Centinela Hospital on June 21 for recovery. Stunt double Vic Armstrong spent five weeks as a stand-in for various shots. Wendy Leech, Armstrong's wife, served as Capshaw's stunt double.


title: Indiana Jones and the Temple of Doom

text: Macau (then a Portuguese colony) was substituted for Shanghai, while cinematographer Douglas Slocombe caught fever from June 24 to July 7 and could not work. Ford returned on August 8. Despite the problems during filming, Spielberg was able to complete "Temple of Doom" on schedule and on budget, finishing principal photography on August 26. Various pickups took place afterwards. This included Snake River Canyon, in Idaho, Mammoth Mountain, Tuolumne and American River, Yosemite National Park, San Joaquin Valley, Hamilton Air Force Base and Arizona. Producer Frank Marshall directed a second unit in Florida in January 1984, using alligators to double as crocodiles. The mine chase was a combination of a roller coaster and scale models with dolls doubling for the actors. Minor stop motion was also used for the sequence. Visual effects supervisors Dennis Muren, Joe Johnston and a crew at Industrial Light & Magic provided the visual effects work, while Skywalker Sound, headed by Ben Burtt, commissioned the sound design. Burtt recorded roller coasters at Disneyland Park in Anaheim for the mine cart scene.


title: Indiana Jones and the Temple of Doom

text: "After I showed the film to George [Lucas], at an hour and 55 minutes, we looked at each other," Spielberg remembered. "The first thing that we said was, 'Too fast'. We needed to decelerate the action. I did a few more matte shots to slow it down. We made it a little bit slower, by putting breathing room back in so there'd be a two-hour oxygen supply for the audience."


title: Indiana Jones and the Temple of Doom

text: "Temple of Doom" was released on May 23, 1984, in America, accumulating a record-breaking $45.7 million in its first week. The film went on to gross $333.1 million worldwide, with $180 million in North America and $153.1 million in other markets. The film had the highest opening weekend of 1984, and was that year's highest-grossing film (third in North America, behind "Beverly Hills Cop" and "Ghostbusters"). It was also the tenth highest-grossing film of all time during its release. It sold an estimated 53,532,800 tickets in the United States.


title: Indiana Jones and the Temple of Doom

text: Marvel Comics published a comic book adaptation of the film by writer David Michelinie and artists Jackson Guice, Ian Akin, Brian Garvey, and Bob Camp. It was published as "Marvel Super Special" #30 and as a three-issue limited series.


title: Indiana Jones and the Temple of Doom

text: LucasArts and Atari Games promoted the film by releasing an arcade game. Hasbro released a toy line based on the film in September 2008.


title: Indiana Jones and the Temple of Doom

text: The video was released at Christmas 1986 with a retail price of $29.95 and sold a record 1.4 million units. A DVD version of the film was released in 2003 together with the two other films in the then Indiana Jones trilogy series. A Blu-ray version for the film was released in 2012 as part of a box set for the series, which had four films at the time. In 2021, a remastered 4K version of the film was released on Ultra HD Blu-ray, produced using scans of the original negatives. It was released as part of a box set for the then four films in the Indiana Jones film series.


title: Indiana Jones and the Temple of Doom

text: In Japan, the film was aired on Nippon TV (NTV), on October 16, 1987. It became NTV's most-watched film up until then with a 26.9% audience rating, surpassing the 25.3% record previously set by "First Blood" in 1985. In turn, "Temple of Doom" was later surpassed by "Tsuribaka Nisshi 4" in 1994, but remained NTV's most-watched foreign film up until "Harry Potter and the Philosopher's Stone" in 2004.


title: Indiana Jones and the Temple of Doom

text: In the United Kingdom, the film's 2005 airing was watched by viewers on BBC1, becoming the channel's ninth most-watched film during the first half of 2005.


title: Indiana Jones and the Temple of Doom

text: "Indiana Jones and the Temple of Doom" received mixed reviews upon its release, but over the years the film's reception has shifted to a more positive tone. On Rotten Tomatoes, the film has an approval rating of based on reviews, with an average rating of . The site's critical consensus reads, "It may be too 'dark' for some, but "Indiana Jones and the Temple of Doom" remains an ingenious adventure spectacle that showcases one of Hollywood's finest filmmaking teams in vintage form." On Metacritic the film has a weighted average score of 57 out of 100, based on 14 critics, indicating "mixed or average reviews".


title: Indiana Jones and the Temple of Doom

text: Roger Ebert gave the film a perfect four-star rating, calling it "the most cheerfully exciting, bizarre, goofy, romantic adventure movie since "Raiders", and it is high praise to say that it's not so much a sequel as an equal. It's quite an experience." Vincent Canby felt the film was "too shapeless to be the fun that "Raiders" is, but shape may be beside the point. Old-time, 15-part movie serials didn't have shape. They just went on and on and on, which is what "Temple of Doom" does with humor and technical invention." Neal Gabler commented that "I think in some ways, "Indiana Jones and the Temple of Doom" was better than "Raiders of the Lost Ark". In some ways it was less. In sum total, I'd have to say I enjoyed it more. That doesn't mean it's better necessarily, but I got more enjoyment out of it." Colin Covert of the "Star Tribune" called the film "sillier, darkly violent and a bit dumbed down, but still great fun." Pauline Kael, writing in "The New Yorker", said that "nobody has ever fused thrills and laughter in quite the way that [Spielberg] does here" and claimed that the movie was "the most sheerly pleasurable physical comedy I've seen in years."


title: Indiana Jones and the Temple of Doom

text: Dave Kehr stated "The film betrays no human impulse higher than that of a ten-year-old boy trying to gross out his baby sister by dangling a dead worm in her face." Ralph Novak of "People" complained "The ads that say 'this film may be too intense for younger children' are fraudulent. No parent should allow a young child to see this traumatizing movie; it would be a cinematic form of child abuse. Even Harrison Ford is required to slap Quan and abuse Capshaw. There are no heroes connected with the film, only two villains; their names are Steven Spielberg and George Lucas." "The Observer" described it as "a thin, arch, graceless affair." "The Guardian" summarized it as "a two-hour series of none too carefully linked chase sequences ... sitting on the edge of your seat gives you a sore bum but also a numb brain." Leonard Maltin gave the movie only 2 out of 4 stars, saying that the film is "headache inducing" and "never gives us a chance to breathe", and chiding the gross-out' gags."


title: Indiana Jones and the Temple of Doom

text: Colin Greenland reviewed "Indiana Jones and the Temple of Doom" for "Imagine" magazine, and stated that ""Raiders" had the wit and lightness of touch not to take itself too seriously. "Temple" starts well, but promptly loses itself In clamorous self-importance. I couldn't care less if it outgrosses "Raiders". It grossed me out."


title: Indiana Jones and the Temple of Doom

text: The character of Willie Scott has been criticized for her constant screaming and frequent need to be rescued. Kate Capshaw called Willie "not much more than a dumb screaming blonde." Steven Spielberg said in 1989 "I wasn't happy with "Temple of Doom" at all. It was too dark, too subterranean, and much too horrific. I thought it out-poltered "Poltergeist". There's not an ounce of my own personal feeling in "Temple of Doom"." He later added during the "Making of Indiana Jones and the Temple of Doom" documentary, ""Temple of Doom" is my least favorite of the trilogy. I look back and I say, 'Well the greatest thing that I got out of that was I met Kate Capshaw.' We married years later and that to me was the reason I was fated to make "Temple of Doom"."


title: Indiana Jones and the Temple of Doom

text: Lucas, who had divorced from Marcia Lucas, attributed the film's darkness to his relationship problems, but in regards to the film said, "I love the movie, it's just slightly darker in tone and not as fun as the first."


title: Indiana Jones and the Temple of Doom

text: In 2014, "Time Out" polled several film critics, directors, actors and stunt actors to list their top action films. "Indiana Jones and the Temple of Doom" was listed at 71st place on this list.


title: Indiana Jones and the Temple of Doom

text: Dennis Muren and Industrial Light & Magic's visual effects department won the Academy Award for Best Visual Effects at the 57th Academy Awards. Soundtrack composer John Williams was, as he had been for his work on "Raiders of the Lost Ark", again nominated for Original Music Score. The visual effects crew won the same category at the 38th British Academy Film Awards. Cinematographer Douglas Slocombe, editor Michael Kahn, Ben Burtt and other sound designers at Skywalker Sound received nominations. Spielberg, the writers, Harrison Ford, Jonathan Ke Quan, Anthony Powell and makeup designer Tom Smith were nominated for their work at the Saturn Awards. "Temple of Doom" was nominated for Best Fantasy Film but lost to "Ghostbusters".


title: Indiana Jones and the Temple of Doom

text: The depiction of Indian culture caused controversy and brought it to the attention of India's censors, who placed a temporary ban on it as it did not open in theaters. The film was later released when it came out on home video. In India the depiction of Indian cuisine was heavily criticized, as dishes such as baby snakes, eyeball soup, beetles, and chilled monkey brains are not Indian foods. Shashi Tharoor and Yvette Rosser have criticized the film for its portrayal of India, with Rosser writing "[it] seems to have been taken as a valid portrayal of India by many teachers, since a large number of students surveyed complained that teachers referred to the eating of monkey brains." Tharoor criticizes the film for promoting a negative impression of India as "a country where kings and courtiers feasted on stewed snakes and monkey brains, where Kali worshippers plucked the hearts out of their victims and embroiled them in flaming pits, and where evil, poverty and destitution reigned until the Great White Hero could intervene to restore justice and prosperity". Other assessments of the movie, both those contemporaneous to the release of the film, and later reviews, have criticized the depiction of Indian religion and Chinese characters as racist and orientalist, and reflecting white savior tropes.


title: Indiana Jones and the Temple of Doom

text: Roshan Seth, who played Chattar Lal, mentioned that the banquet scene was a joke that went wrong, saying, "Steven intended it as a joke, the joke being that Indians were so smart that they knew all Westerners think that Indians eat cockroaches, so they served them what they expected. The joke was too subtle for that film."


title: Indiana Jones and the Temple of Doom

text: In his autobiography, Amrish Puri expressed the whole controversy around the film was "silly". He wrote that "it's based on an ancient cult that existed in India and was recreated like a fantasy. If you recall those imaginary places like Pankot Palace, starting with Shanghai, where the plane breaks down and the passengers use a raft to jump over it, slide down a hill and reach India, can this ever happen? But fantasies are fantasies, like our Panchatantra and folklore. I know we are sensitive about our cultural identity, but we do this to ourselves in our own films. It's only when some foreign directors do it that we start cribbing."


title: Indiana Jones and the Temple of Doom

text: In response to some of the more violent sequences in the film, and with similar complaints about "Gremlins", Spielberg suggested that the Motion Picture Association of America (MPAA) alter its rating system by introducing an intermediary between the PG and R ratings. The MPAA concurred, and a new PG-13 rating was introduced two months after the film's release. In the UK the film was heavily censored for a PG certificate. The United Kingdom followed suit 5 years later, with the BBFC introducing the "12" rating and "Batman" (1989) being the first film to receive it.


title: CSI: Vegas

text: CSI: Vegas is an American crime drama television series that debuted on CBS on October 6, 2021. It is a follow-up to the long-running series "", and the fifth series in the "CSI" franchise. The first season stars William Petersen and Jorja Fox as Gil Grissom and Sara Sidle, while the second season stars Marg Helgenberger as Catherine Willows, reprising their roles from "CSI: Crime Scene Investigation." Paula Newsome, Matt Lauria, Mel Rodriguez, and Mandeep Dhillon portray new characters. Wallace Langham, Paul Guilfoyle and Eric Szmanda also reprise their roles as David Hodges, Jim Brass and Greg Sanders, in a guest capacity. Originally branded as an epilogue limited series, it was renewed for a second season in December 2021, without Fox, Petersen, or Rodriguez returning. The first season consisted of ten episodes. The second season premiered on September 29, 2022.


title: CSI: Vegas

text: Following the airing of the of "", in 2015, series creator Anthony E. Zuiker said the future of the characters would be that "Grissom and Sara ... [would still be] sailing the oceans, ... saving the environment, ... [would have] children, and they would dedicate their lives to the betterment of humanity. ... Catherine would still be running the crime lab, ... <nowiki>[</nowiki>Brass<nowiki>]</nowiki> probably would retire, ... and DB probably is working in the private sector in Washington DC. And I think that all these characters would still have their toe in the crime water."


title: CSI: Vegas

text: Soon after the cancellation of the last series in the franchise, "", in 2016, it was announced that the producers were open to reviving the franchise. The CBS Entertainment president at the time, Glenn Geller, said, "We are incredibly proud of all "CSI" shows. It may come back in another incarnation." On February 10, 2020, it was announced that an event series sequel to "CSI: Crime Scene Investigation" was being discussed, from Jason Tracey, CBS Studios, and Jerry Bruckheimer Television, with Tracey, Jerry Bruckheimer, and Jonathan Littman as executive producers.<ref name="2/10/20"></ref>


title: CSI: Vegas

text: On August 10, 2020, it was announced that the series was still in development, now titled "CSI: Vegas", with the original star of "CSI: Crime Scene Investigation", William Petersen, set to executive produce alongside Tracey, Bruckheimer, Littman, KirstieAnne Reed, Zuiker, Craig O'Neill, and Cynthia Chvatal.<ref name="8/10/20"></ref> In February 2021, the series was nearing a formal straight-to-series order. It was also announced that although it is being billed as an event series, it could become an ongoing series airing multiple seasons.


title: CSI: Vegas

text: On March 31, 2021, it was announced that "CSI: Vegas" had officially been ordered to series, with Uta Briesewitz directing the pilot. On December 15, 2021, CBS renewed the series for a second season. CBS Entertainment president Kelly Kahl confirmed that the second season will be longer than 13 episodes, although the network currently has "not done a final tally yet". In October 2022, Anthony E. Zuiker teased that the second season will consist of at least 17 episodes.


title: CSI: Vegas

text: On February 10, 2020, it was announced that two of the original stars of "CSI: Crime Scene Investigation", Petersen and Jorja Fox, were in talks to potentially reprise their roles as Gil Grissom and Sara Sidle. On August 10, 2020, it was announced that Petersen and Fox were still in negotiations to return, and that casting was under way for five new characters.


title: CSI: Vegas

text: On February 12, 2021, it was revealed that Paula Newsome, Matt Lauria, and Mel Rodriguez had been cast in the series. Lauria and Rodriguez both previously guest-starred as different characters in the franchise. It was also revealed that Petersen and Fox were finalizing their deals. On March 31, 2021, it was announced that Mandeep Dhillon had been cast in the series.


title: CSI: Vegas

text: Later that day, it was revealed that Wallace Langham would reprise his role as David Hodges, and Petersen and Fox were officially announced as being cast. On May 3, 2021, it was announced that Jamie McShane had been cast in a recurring role and that Paul Guilfoyle would reprise his role as Jim Brass in two episodes. In September 2021, Zuiker hinted that additional "CSI: Crime Scene Investigation" characters may make appearances in the series.


title: CSI: Vegas

text: On December 15, 2021, it was announced alongside the second season renewal that Petersen won't return as a cast member, though he would remain as executive producer. On January 25, 2022, it was announced that Fox will also not return for the second season. Two days later, it was announced that Rodriguez would leave ahead of the second season as well. On February 11, 2022, it was announced that Marg Helgenberger will reprise her role as Catherine Willows in the second season. On May 24, 2022, it was announced that recurring actor Jay Lee would be upgraded to series regular and that Lex Medlin and Ariana Guerra would join the cast as regulars. On December 15, 2022, it was reported that Eric Szmanda would reprise his role as Greg Sanders in several episodes during the latter half of the second season.


title: CSI: Vegas

text: On August 10, 2020, it was announced that filming was planned to start in the fall of 2020, whenever COVID-19 conditions permitted Hollywood production to resume. On January 8, 2021, it was announced that the series is set to begin production in early 2021.<ref name="1/8/21"></ref> Filming began May 4, 2021, and was scheduled to run until November 4, 2021, in Los Angeles, California. On August 22, 2021, it was reported that Petersen had been taken to a hospital after becoming ill during filming.


title: CSI: Vegas

text: The series was originally planned to air on October 6, 2020, to mark 20 years since the day of the premiere of "CSI: Crime Scene Investigation". However, on August 10, 2020, it was announced that due to COVID-19 related production shutdowns, the series would not be able to meet that premiere date. On January 8, 2021, it was announced that the series was set to air during the 2021–22 television season. On May 19, 2021, CBS announced that the series would premiere in fall 2021, on Wednesdays at 10 p.m. ET. On July 12, 2021, a premiere date of October 6, 2021, was announced by CBS, to mark 21 years since the day of the premiere of "CSI: Crime Scene Investigation". The first season comprises ten episodes.


title: Ving Rhames

text: Irving Rameses Rhames (born May 12, 1959) is an American actor. He is best known for his supporting roles as IMF Agent Luther Stickell in the and gang kingpin Marsellus Wallace in "Pulp Fiction". He also appeared in "Jacob's Ladder" (1990), "Dave" (1993), "Striptease" (1996), "Con Air" (1997), "" (1997), "Out of Sight" (1998), "Entrapment" (1999), "Bringing Out the Dead" (1999), "Baby Boy" (2001), and "Dawn of the Dead" (2004). He voiced Cobra Bubbles in the animated films "Lilo & Stitch" (2002), "Stitch! The Movie" (2003), and "Leroy & Stitch" (2006).


title: Ving Rhames

text: Rhames was born and raised in Harlem, New York City. He was named "Irving" after NBC journalist Irving R. Levine.


title: Ving Rhames

text: Rhames entered New York's High School of Performing Arts, where he developed his love of acting. After high school, he studied drama at SUNY Purchase, where fellow acting student Stanley Tucci gave him his nickname "Ving". Rhames later transferred to the Juilliard School's Drama Division ("Group 12": 1979–1983) where he graduated with a Bachelor of Fine Arts degree in 1983.


title: Ving Rhames

text: Rhames first appeared on Broadway in the play "The Boys of Winter" in 1984. He started out in film in Wes Craven's "The People Under the Stairs" (1991) as Leroy, watched over Kevin Kline as Secret Service agent Duane Stevensen in "Dave" (1993), and played Marsellus Wallace in "Pulp Fiction" (1994). He also played the buddy of George Clooney in "Out of Sight" (1998).


title: Ving Rhames

text: Rhames played Dr. Peter Benton's brother-in-law on the TV medical drama "ER", a recurring role he filled for three seasons. He played ace computer hacker Luther Stickell opposite Tom Cruise in Brian De Palma's "" (1996). In 1997, Rhames portrayed the character of Nathan 'Diamond Dog' Jones in the popular film "Con Air", and Muki in the Ice Cube film "Dangerous Ground".


title: Ving Rhames

text: Rhames won a Golden Globe in 1998 for Best Actor – Miniseries or Television Film in HBO's "Don King: Only in America". At the ceremony he gave his award to fellow nominee Jack Lemmon, saying, "I feel that being an artist is about giving, and I'd like to give this to you." Lemmon was clearly touched by the gesture as was the celebrity audience who gave Lemmon a standing ovation. Lemmon, who tried unsuccessfully to give the award back to Rhames, said it was "one of the nicest, sweetest moments I've ever known in my life." The Hollywood Foreign Press Association announced later that they would have a duplicate award prepared for Rhames. That moment was #98 on E!'s 101 Awesome Moments in Entertainment. "The New York Times" lauded Rhames for the act, writing that in doing so he "demonstrated his capacity for abundant generosity."


title: Ving Rhames

text: Rhames appeared in "Striptease" (1996) as the wisecracking bodyguard Shad, Jesus-praising paramedic Marcus in "Bringing Out the Dead" (1999), and reprised his Luther Stickell role for "" (2000). He played Johnnie Cochran in "American Tragedy" (2000), the ex-con boyfriend of Jodie's mother in the John Singleton film "Baby Boy", portrayed a gay drag queen in the television movie "Holiday Heart", contributed his voice for the character of Cobra Bubbles in "Lilo & Stitch" (2002) and the subsequent TV series, and played a stoic cop fighting zombie hordes in "Dawn of the Dead" (2004) and "Day of the Dead" (2008) remakes. Rhames has also appeared in a series of television commercials for RadioShack, usually performing with Vanessa L. Williams.


title: Ving Rhames

text: In March 2005, Rhames played the lead role on a new "Kojak" series, on the USA Network cable channel (and on ITV4 in the UK). The bald head, lollipops, and "Who loves ya, baby?" catchphrase remained intact, but little else remained from the Telly Savalas-starring original.


title: Ving Rhames

text: Reprising his Luther Stickell role, Rhames co-starred in "" (2006), had a cameo appearance in "" (2011), and played a major role in "" (2015) and "" (2018), the fifth and sixth installments in the "Mission Impossible" film series, respectively. He is the only actor besides Tom Cruise to appear in all six "Mission: Impossible" films. It was announced that he would have a role in the Aquaman-based show "Mercy Reef"; however, due to the integration of The WB and UPN for the new network, CW, "Mercy Reef" was not picked up. Rhames played a homosexual – and possibly also homicidal – firefighter who comes out of the closet in "I Now Pronounce You Chuck and Larry". He narrates the BET television series "American Gangster".


title: Ving Rhames

text: In the 2008 film "Saving God", he played an ex-con who is released from prison a changed man, looking to take over his father's former church congregation in a deteriorating neighborhood. Rhames stars in "Phantom Punch", a biopic of boxer Sonny Liston, released directly to DVD, as well as "The Tournament", portraying a fighter out to win a no-rules tournament.


title: Ving Rhames

text: Rhames makes an appearance in Ludacris's song "Southern Gangstas" on his album "Theater of the Mind". Rappers Playaz Circle and Rick Ross are also featured on the track.


title: Ving Rhames

text: He filmed the movie "The Red Canvas" with Ernie Reyes Jr., UFC lightweight contender Gray Maynard, and Randy Couture. In 2010, he filed a lawsuit against the film's producer, claiming that he had only been paid $175,000 of a $200,000 contract.


title: Ving Rhames

text: Rhames narrated the team introductions for the New England Patriots and Atlanta Falcons in Super Bowl LI in February 2017.


title: Ving Rhames

text: Since 2014, Rhames has provided the narration for numerous Arby's commercials, with the slogan "Arby's: We have the meats!"


title: Ving Rhames

text: Rhames is a Christian. As of 2018, he resides in Santa Monica, California. He has been married to Deborah Reed since 2000.


title: Alexander McQueen

text: Lee Alexander McQueen CBE (17 March 1969 – 11 February 2010) was a British fashion designer and couturier. He founded his own Alexander McQueen label in 1992, and was chief designer at Givenchy from 1996 to 2001. His achievements in fashion earned him four British Designer of the Year awards (1996, 1997, 2001 and 2003), as well as the CFDA's International Designer of the Year award in 2003. McQueen died from suicide in 2010 at the age of 40, at his home in Mayfair, London, shortly after the death of his mother.


title: Alexander McQueen

text: McQueen had a background in tailoring before he studied fashion and embarked on a career as a designer. His MA graduation collection caught the attention of fashion editor Isabella Blow, who became his patron. McQueen's early designs, particularly the radically low-cut "bumster" trousers, gained him recognition as an "enfant terrible" in British fashion. In 2000, McQueen sold 51% of his company to the Gucci Group, which established boutiques for his label worldwide and expanded its product range. Following his death, longtime collaborator Sarah Burton took over as creative director of his label.


title: Alexander McQueen

text: As a designer, McQueen was known for sharp tailoring, historicism, and imaginative designs that often verged into the controversial. He explored themes such as romanticism, sexuality, and death, and many collections had autobiographical elements. Among his best-known individual designs are the bumsters, the skull scarf, and the armadillo shoes. McQueen's catwalk shows were noted for their drama and theatricality, and they often ended with elements of performance art, such as a model being spray painted by robots ("No. 13", Spring/Summer 1999), or a life-size illusion of Kate Moss ("The Widows of Culloden", Autumn/Winter 2006).


title: Alexander McQueen

text: McQueen's legacy in fashion and culture is extensive. His designs were showcased in two retrospective exhibitions: "" (2011 and 2015) and "Lee Alexander McQueen": "Mind, Mythos, Muse" (2022). He remains the subject of journalistic and academic analysis, including the book "" (2015) by fashion journalist Dana Thomas and the documentary film "McQueen" (2018).


title: Alexander McQueen

text: Alexander McQueen was born on 17 March 1969 at University Hospital Lewisham in Lewisham, London, to Ronald and Joyce McQueen, the youngest of six children. His Scottish father worked as a taxi driver, and his mother a social science teacher. It was reported that he grew up in a council flat, but, in fact, the McQueens moved to a terraced house in Stratford in his first year. McQueen attended Carpenters Road Primary School, before going to Rokeby School. He was interested in clothes from a young age. As the youngest of six children, McQueen began experimenting with fashion by making dresses for his three sisters. His earliest fashion memory reaches back to when he was just three years old, drawing a dress on the wall of his East London family home. He was also fascinated by birds and was a member of the Young Ornithologists' Club; later, in his professional career, he often used birds as motifs in his designs.


title: Alexander McQueen

text: McQueen left school aged 16 in 1985 with only one O-level in art, took a course in tailoring at Newham College and went on to serve an apprenticeship with Savile Row tailors Anderson & Sheppard, before joining Gieves & Hawkes as a pattern cutter. The skills he learned as an apprentice on Savile Row helped earn him a reputation in the fashion world as an expert in creating an impeccably tailored look. It was claimed that he sewed obscenities into the lining of suits made for Prince Charles, although a recall of suits made by Anderson & Sheppard to check found no evidence of this. While serving his apprenticeship, McQueen also attended the Rosetta Art Centre. After Saville Row, he worked briefly for the theatrical costumiers Angels and Bermans, making costumes for shows such as "Les Misérables". When he was 20, he worked for Koji Tatsuno, and then Romeo Gigli in Milan before returning to London to go to Central Saint Martins College of Art and Design.


title: Alexander McQueen

text: McQueen initially applied for a job as a pattern cutter tutor at Central Saint Martins, which he failed to get as he was aged 21 and too young to teach students of his own age. However, based on the strength of his portfolio, Bobby Hillson, the Head of the Masters course at St Martins, encouraged McQueen to enroll as a student instead. He received his master's degree in fashion design and his 1992 MA graduation collection, titled "Jack the Ripper Stalks His Victims", was bought in its entirety by influential fashion stylist Isabella Blow. Through the early days of McQueen's career, Isabella Blow helped pave the way using her unique style and contacts to help McQueen. She was in many ways his mentor, which grew into a close friendship.


title: Alexander McQueen

text: Blow was said to have persuaded McQueen to use his middle name Alexander when he subsequently launched his fashion career. Another suggestion was that he used his middle name so as not to lose his unemployment benefits for which he was registered while still a struggling young designer under the name of Lee McQueen. McQueen had said that he refused to be photographed in his early career because he did not want to be recognised in the dole office. In the 2018 documentary "McQueen", his boyfriend and assistant designer in the early days, Andrew Groves, said that McQueen dictated that they could only show him from behind to avoid being identified and losing his unemployment benefitshis only significant means of income at that time.


title: Alexander McQueen

text: In 1992, McQueen started his own label, and for a time he lived in the basement of Blow's house in Belgravia while it was under renovation. In 1993, he relocated to set up his studio in Hoxton Square, an area that also housed other new designers including Hussein Chalayan and Pauric Sweeney. His first collection after graduation, the "Taxi Driver" collection inspired by the Martin Scorsese's film, was organised by the British Fashion Council for young designers without runway shows, and presented on a clothes rack in a small room at the Ritz Hotel. He introduced the "bumsters" in this collection, but the collection was never photographed as all the clothes were stolen after the presentation. In his early collections, McQueen sewed locks of his own hair in perspex onto the clothes to serve as his label.


title: Alexander McQueen

text: McQueen's first professional runway show in 1993, the Spring/Summer 1994's "Nihilism" collection, was held at the Bluebird Garage in Chelsea. His early runway collections developed his reputation for controversy and shock tactics, earning him the title "l'enfant terrible" and "the hooligan of English fashion". McQueen's "Nihilism" collection, with some models looking bruised and bloodied in see-through clothes and extremely low-cut bumster trousers, was described by journalist Marion Hume of "The Independent" as "theatre of cruelty" and "a horror show".


title: Alexander McQueen

text: McQueen's second runway show was for the "Banshee" collection. Shortly after creating this collection. McQueen met Katy England, his soon to be "right hand woman", outside of a "high profile fashion show" trying to "blag her way in". He promptly asked her to join him for his following collection, "The Birds", as "creative director"; thereafter she continued to work with McQueen, serving as his "second opinion". "The Birds", which was named after Alfred Hitchcock's 1963 film and held at Kings Cross, had a roadkill theme featuring clothes with tyre marks and the corsetier Mr Pearl in an 18-inch waist corset.


title: Alexander McQueen

text: McQueen's "bumsters" were a common feature of his early shows. Although derided by some and attracted many comments and debate, it spawned a trend in low-rise jeans, especially after Madonna wore one in an MTV advert in 1994. Michael Oliveira-Salac, the director of Blow PR and a friend of McQueen's said, "The bumster for me is what defined McQueen."


title: Alexander McQueen

text: McQueen's fourth runway show for his Autumn/Winter collection of 1995 brought McQueen to the world's attention. The collection, titled "Highland Rape" referring to the Highland Clearances of Scotland, was controversial. Some models on the runway wore clothes that were slashed and torn, and in tatters of lace with spatters of fake blood. Reviewers have interpreted it as being about women who were raped, and criticised what they saw as misogyny and the glamorisation of rape. McQueen objected to such interpretation, arguing that it referred to the rape of Scotland by the English, and was intended to counter other designers' romantic depiction of Scotland. As for the charge of misogyny, he said he aimed to empower women and for people to be afraid of the women he dressed.


title: Alexander McQueen

text: McQueen continued to attract criticisms of misogyny in some of his later shows for designs that some considered degrading to women. In "La Poupée" (Spring/Summer 1997) inspired by Hans Bellmer's "The Doll", McQueen placed models including the black model Debra Shaw in metal restraints, which observers took to mean slavery, while the silver mouthpiece ins "Eshu" (Autumn/Winter 2000) forced the wearer to bare her teeth. Similarly the sex-doll lips makeup of the models in "The Horn of Plenty" (Autumn/Winter 2009–10) was also criticised as being ugly and misogynistic. The fashion writer of the "Daily Mail" called McQueen "the designer who hates women".


title: Alexander McQueen

text: McQueen followed "Highland Rape" with "The Hunger" (Spring/Summer 1996) and "Dante" (Autumn/Winter 1996). "Dante" further raised his international profile, and the collection was shown twice; first in Christ Church, Spitalfields, London, later in a disused synagogue in New York, both attended by large enthusiastic crowds. McQueen won his first British Designer of the Year award in 1996.


title: Alexander McQueen

text: McQueen's increasing prominence led to a number of projects for music artists. In 1996, he designed the wardrobe for David Bowie's tour of 1997, such as the Union Jack coat worn by Bowie on the cover of his album "Earthling". Icelandic singer Björk sought McQueen's work for the cover of her album "Homogenic" in 1997. McQueen also directed the music video for her song "Alarm Call" from the same album and later contributed the iconic topless dress to her video for "Pagan Poetry".


title: Alexander McQueen

text: McQueen was appointed head designer of Givenchy in 1996 to succeed John Galliano who had moved to Dior. Hubert de Givenchy, founder of the label known for its elegant couture, criticised McQueen's appointment, describing it as a "total disaster". In turn, upon his arrival at Givenchy, McQueen insulted the founder by calling him "irrelevant". McQueen's debut show for Givenchy, Spring Summer 1997, featured Greek mythology-inspired gold and white designs. Although beautiful, the collection was considered a failure by some critics in contrast to the praise lavished on John Galliano's debut collection for Dior. McQueen himself said to "Vogue" in October 1997 that the collection was "crap". McQueen had toned down his designs at Givenchy, although he continued to indulge his rebellious streak. Givenchy designs released by Vogue Patterns during this period may be credited to the late designer.


title: Alexander McQueen

text: McQueen's relationship with Givenchy was fraught, and he left in March 2001 after his contract ended, with McQueen arguing that Givenchy had started to 'constrain' his creativity.


title: Alexander McQueen

text: Five weeks after his criticised debut for Givenchy, McQueen staged his own show titled "It's a Jungle out There", which was inspired by nature. The title was a response to the criticism he received; according to McQueen, after he watched a nature documentary about gazelles being hunted by lions: 'That's me!' Someone's chasing me all the time, and, if I'm caught, they'll pull me down. Fashion is a jungle full of nasty, bitchy hyenas.". Model wore eye makeup to resemble gazelles and clothes with horns in the show. This collection, presented at London's Borough Market, was judged a triumph, Amy Spindler of "New York Times", who had criticised his Givenchy debut, wrote that McQueen was "fashion's closest thing to a rock star. He isn't just part of the London scene; he is the scene.". The London show restored his reputation and he went on to produce a number of well-received collections for Givenchy.


title: Alexander McQueen

text: McQueen staged many of his shows in an unusual or dramatic fashion. His Spring/Summer 1998 "Untitled" collection (originally titled "Golden Shower" until the sponsor objected) was presented on a catwalk showered with water in yellow light, while the following "Joan" (after Joan of Arc) ended with a masked model standing in a ring of fire.


title: Alexander McQueen

text: A catwalk show that received widespread media attention was the Spring/Summer 99 collection "No. 13" (it was his 13th collection), which was held in a warehouse in London on 27 September 1998. It took inspiration from William Morris and the Arts and Crafts movement, with its concern for handcraft. Some of the dresses incorporated Morris-inspired embroidery, and the show featured double amputee Aimee Mullins in a pair prosthetic legs intricately hand-carved in ash. The climax of the show, however, provided a counter-point to the anti-industrial ethic of the Arts and Crafts movement. It featured Shalom Harlow in a white dress spray-painted in yellow and black by two robotic arms from a car manufacturing plant. It is considered one of the most memorable finales in fashion history.


title: Alexander McQueen

text: The following Autumn/Winter 99 collection, "The Overlook" (titled after the Overlook Hotel from Stanley Kubrick's film "The Shining") featured winter snowy scene with ice-skaters and presented clothes mostly in white and grey. A notable creation in show was the Coil Corset made in collaboration with jeweller Shaun Leane, who also crafted many other pieces for McQueen, including a Spine Corset ("Untitled" Spring/Summer 1998) and a yashmak in aluminium and crystal ("Eye", Spring/Summer 2000). The Coil Corset, an expansion of the idea of a coiled neckpiece made by Leane for "It's a Jungle Out There", was made out of aluminium rings. It was sold in 2017 for $807,000.


title: Alexander McQueen

text: McQueen held his first runway show in New York in 1999, titled "Eye" (Spring/Summer 2000). The theme was on West relation to Islam and featured designs that were sexualised version of traditional Islamic dress, which was poorly-received by the critics. The show ended with models in niqāb and burqa floating above spikes that had appeared out of water.


title: Alexander McQueen

text: One of McQueen's most celebrated and dramatic catwalk shows was his 2001 Spring/Summer collection, named "Voss" after a Norwegian town known for its wildlife habitat. Nature was reflected in the natural material used in some of his clothes such as ostrich feathers, but more unusual were outfits made out of razor clam and mussel shells.


title: Alexander McQueen

text: The centre piece tableau that dominated the show was an enormous dark glass box within a larger glass box. Inside the inner dark glass case was an interior filled with moths and, at the centre, a naked model on a chaise longue with her face obscured by a gas mask. The tableau was revealed when the glass walls of the inner box fell away towards the end of the show and smashed onto the ground. McQueen said that the tableau was based on the Joel Peter Witkin image "Sanitarium". The model chosen by McQueen to be the centre of the show was the British writer Michelle Olley. The British fashion photographer Nick Knight said of the VOSS show on his SHOWstudio.com blog: "It was probably one of the best pieces of Fashion Theatre I have ever witnessed."


title: Alexander McQueen

text: Because the room outside the box was lit and the inside of the box was unlit before the show started, the glass walls appeared as large mirrors, so that the seated audience saw only their own reflection. Alexander McQueen later described his thoughts on the idea used during "VOSS" of forcing his audience to stare at their own reflection in the mirrored walls for over an hour before the show started:


title: Alexander McQueen

text: Before his contract with Givenchy had finished, McQueen signed a deal with Givenchy's rival Gucci in 2000, daring Givenchy to fire him. Gucci bought 51% of McQueen's company with McQueen remaining its creative director, and the deal allowed McQueen to expand his own Alexander McQueen label. In the following years a number of Alexander McQueen boutiques opened in cities around the world, and the label also extended into perfume, eyewear and accessories, trainers, as well as a menswear line.


title: Alexander McQueen

text: McQueen continued to present his runway shows in an unconventional manner for which he had become known. The Autumn 2001 show, his last show in London before moving to Paris, featured a merry-go-round with models in clown make-ups dragging along a golden skeleton; the Autumn/Winter 2002 "Supercalifragilisticexpialidocious" collection was shown with live caged wolves and a black parachute cape inspired by Tim Burton; the Autumn/Winter 2003 "Scanners" was presented in a snowy wasteland setting with models walking along a wind tunnel; and the Autumn 2004 show was a re-enactment of dance scenes from the Sydney Pollack's film "They Shoot Horses, Don't They?", choreographed for the show by Michael Clark. For the spring 2005 "It's Only a Game" collection, he presented a human chess game, and his autumn 2006 show "The" "Widows of Culloden", featured a life-sized illusion of Kate Moss, an English supermodel, dressed in yards of rippling fabric.


title: Alexander McQueen

text: McQueen also became known for using skulls in his designs. A scarf bearing the skull motif, which first appeared in the "Irere" Spring/Summer collection of 2003, became a celebrity must-have and was copied around the world.


title: Alexander McQueen

text: Although McQueen had incorporated menswear into many of his previous catwalk shows, for example Spring/Summer 98, it was only in 2004 that a separate menswear collection was introduced with his first menswear runway show in Milan's menswear event. He was named GQ magazine's Designer of the Year in 2004.


title: Alexander McQueen

text: In 2007, McQueen dedicated his Spring 2008 collection, "La Dame Bleue", to Isabella Blow, who had committed suicide earlier that year. The show included works by his long-time collaborator Philip Treacy, another of Blow's protégé. The collection had a bird theme and featured brightly coloured clothes with feathers.


title: Alexander McQueen

text: McQueen produced a well-received collection, "The Girl Who Lived in the Tree", for Autumn/Winter 2008. It was based on a story McQueen created about a feral girl who lived in a tree but transformed into a princess and marry a prince to become a queen. He took inspiration from the Queens of England and the British Raj and Empire to create a romantic and regal collection. The first half of the show focused on dark decorative dresses over petticoats, which became lighter and more lavish in the second half.


title: Alexander McQueen

text: The Spring/Summer 2009 collection, "Natural Dis-tinction Un-natural Selection", was inspired by Charles Darwin who was the creator of the theory of natural selection, and the impact of industrial revolution on nature. It was presented on a runway filled with taxidermied animals. The show presented structured clothes that featured prints with images of natural materials, as well as crystal-encrusted bodysuits and bell jar-shaped dresses.


title: Alexander McQueen

text: In 2009, McQueen also collaborated with dancer Sylvie Guillem, director Robert Lepage and choreographer Russell Maliphant, designing wardrobe for a theater show "Eonnagata", which premiered at Sadler's Wells theatre in London.


title: Alexander McQueen

text: Alexander McQueen's last appearance on a fashion show was in "Plato's Atlantis", presented during Paris Fashion Week on 6 October 2009. This Spring/Summer 2010 collection was inspired by nature and the post-human manifesto featuring 46 full looks depicted with sea creature and reptile prints. McQueen installed two large cameras on the runway, both of which moved back and forth, documenting and broadcasting the entire show live on SHOWstudio. "Plato's Atlantis" was the first fashion show by any designer to be streamed live over the internet, although the website streaming it crashed after Lady Gaga tweeted about the show before it started.


title: Alexander McQueen

text: The show began with a video of Raquel Zimmerman lying naked on sand with snakes on her body. The fashion show and the collection addresses Charles Darwin's theory of evolution. as well as current global warming issues. The fantasy collection, named after Plato's island that sunk in the sea, envisaged a future where humans are forced to evolve from living on land to living in water in order to survive. The color scheme changed during the show from green and brown (land) to blue and acqua (ocean). The models exhibited an androgynous look (which represents McQueen's evolutionary themes), as well as possessing post-human characteristics. The prints shifted from reptilian to prints of water creatures such as jellyfish and stingrays. The collection's final silhouettes gave the models marine features while the McQueen's signature armadillo shoe also transformed the appearance of the models' anatomic foot. Plato's Atlantis was yet another way in which McQueen fused fashion with technology. The finale of the show was accompanied by the debut of Lady Gaga's single "Bad Romance".


title: Alexander McQueen

text: At the time of Alexander McQueen's death, he had 16 pieces that were eighty-percent finished for his Autumn/Winter collection. These outfits were completed by his design team and shown in seven presentations to small groups of specially invited audience. This collection, unofficially titled "Angels and Demons", was first shown during Paris Fashion Week on 8 March 2010, to a select handful of fashion editors in a mirrored, gilded salon at the 18th-century Hôtel de Clermont-Tonnerre. Some fashion editors said the show was hard to watch because it showed how McQueen was obsessed with the afterlife.


title: Alexander McQueen

text: The clothes presented had a medieval and religious look. Basic colours that were repetitively used were red, gold and silver with detailed embroidery. The last outfit presented has a coat made of gold feathers (shown left). His models were accessorised to show his love for theatrical imagery. "Each piece is unique, as was he", McQueen's fashion house said in a statement that was released with the collection.


title: Alexander McQueen

text: After company owner Gucci confirmed that the brand would continue, McQueen's long-term assistant Sarah Burton was named as the new creative director of Alexander McQueen in May 2010. In September 2010, Burton presented her first womenswear collection in Paris.


title: Alexander McQueen

text: Some of McQueen's accomplishments included being one of the youngest designers to achieve the title "British Designer of the Year", which he won four times between 1996 and 2003; he was also appointed a CBE and named International Designer of the Year by the Council of Fashion Designers in 2003.


title: Alexander McQueen

text: McQueen has been credited with bringing drama and extravagance to the catwalk. He used new technology and innovation to add a different twist to his shows and often shocked and surprised audiences. The silhouettes that he created have been credited for adding a sense of fantasy and rebellion to fashion.


title: Alexander McQueen

text: December 2000 saw a new partnership for McQueen, with the Gucci Group's acquiring 51% of his company and McQueen's serving as Creative Director. Plans for expansion included the opening of stores in London, Milan, and New York, and the launch of his perfumes Kingdom and, most recently, My Queen. In 2005, McQueen collaborated with Puma to create a special line of trainers for the shoe brand. In 2006, he launched McQ, a younger, more renegade lower-priced line for men and women. Among his most popular design is the skull scarf first created in 2003.


title: Alexander McQueen

text: By the end of 2007, Alexander McQueen had boutiques in London, New York, Los Angeles, Milan, and Las Vegas. Celebrity patrons, including Nicole Kidman, Penélope Cruz, Sarah Jessica Parker, and Rihanna, Monica Brown and J-pop queens, such as Ayumi Hamasaki, Namie Amuro, and Koda Kumi, have frequently been spotted wearing Alexander McQueen clothing to events. The number of McQueen stores worldwide had increased to 100 by the end of 2020, with revenues estimated to be €500m in 2020.


title: Alexander McQueen

text: McQueen became one of several designers to participate in MAC's promotion of cosmetic releases created by fashion designers. The collection was released on 11 October 2007 and reflected the looks used on the Autumn/Winter McQueen catwalk created by makeup artist Charlotte Tilbury. The inspiration for the collection was the 1963 Elizabeth Taylor movie "Cleopatra", and thus the models sported intense blue, green, and teal eyes with strong black liner extended Egyptian-style. McQueen handpicked the makeup.


title: Alexander McQueen

text: The chronology of the fashion shows for women conducted during McQueen's lifetime included 36 collections counting his graduate school collection and his posthumous last collection which included many items of his own design.


title: Alexander McQueen

text: McQueen have produced works for music artists such as David Bowie and Björk which were used in their album covers and tours.


title: Alexander McQueen

text: Pieces designed by Alexander McQueen have been incorporated in the music videos of Björk, Hamasaki, and Lady Gaga. His designs for the Plato's Atlantis collection, including one of his most notable creations the armadillo shoes, were worn by Lady Gaga in her video for "Bad Romance".


title: Alexander McQueen

text: A leather costume designed by McQueen was worn by Janet Jackson in her halftime show at Super Bowl XXXVIII in 2004, which created a controversy when her breast was briefly exposed in an incident described by Justin Timberlake as a "wardrobe malfunction".


title: Alexander McQueen

text: McQueen was openly gay and said he realized his sexual orientation when he was six years old. He told his family when he was 18 and, after a rocky period, they accepted it. He described coming out at a young age by saying, "I was sure of myself and my sexuality and I've got nothing to hide. I went straight from my mother's womb onto the gay parade". Later in life he revealed to this family that he had been sexually abused by his brother-in-law when he was young.


title: Alexander McQueen

text: In 2000, McQueen had a marriage ceremony with his partner George Forsyth, a documentary filmmaker, on a yacht in Ibiza. Kate Moss and Annabelle Neilson were bridesmaids. The marriage was not official, as same-sex marriage in Spain was not legal at that time. The relationship ended a year later, with the two maintaining a close friendship.


title: Alexander McQueen

text: McQueen was an avid scuba diver and used his passion as a source of inspiration in his designs, including spring 2010's "Plato's Atlantis". Much of his diving was done around the Maldives.


title: Alexander McQueen

text: McQueen received press attention after the May 2007 suicide of magazine editor Isabella Blow. Rumours were published that there was a rift between McQueen and Blow at the time of her death, focusing on McQueen's under-appreciation of Blow. McQueen denied these rumours.


title: Alexander McQueen

text: On 3 February 2010, McQueen wrote on his Twitter page that his mother had died the day before, adding: "RIP mumxxxxxxxxxxxxxxxxxxxxxxxxxxx." Four days later, he wrote that he had an "awful week" but said "friends have been great", adding "now I have to somehow pull myself together".


title: Alexander McQueen

text: On the morning of 11 February 2010, his housekeeper found McQueen hanged at his home in Green Street, London W1. Paramedics were called and they pronounced him dead at the scene.


title: Alexander McQueen

text: McQueen left a note saying, "Look after my dogs, sorry, I love you, Lee." The Metropolitan Police stated that the note was not suspicious, but did not make a confirmation that the death was a suicide. On 17 February 2010, Westminster Coroner's Court was told that a post-mortem examination found that McQueen's death was due to asphyxiation and hanging. The inquest was adjourned until 28 April 2010, where McQueen's death was officially recorded as suicide. The coroner, Paul Knapman, reported finding "a significant level of cocaine, sleeping pills, and tranquillizers in the blood samples taken after the designer's death."


title: Alexander McQueen

text: David LaChapelle, a friend of the designer, said that McQueen "was doing a lot of drugs and was very unhappy" at the time of his death. Stephen Pereira, McQueen's psychiatrist, said he had mixed anxiety and depressive disorder for at least three years and had twice taken drug overdoses as "cries for help." He had taken drug overdoses in May and July 2009. Pereira also said that McQueen had repeatedly missed psychiatric sessions, adding that there had been "enormous difficulty in getting him to personally, physically come to appointments."


title: Alexander McQueen

text: While McQueen's death came, by coincidence, just days before London Fashion Week, he was not scheduled to appear there.


title: Alexander McQueen

text: McQueen's funeral took place on 25 February 2010 at St. Paul's Church, Knightsbridge, West London. His ashes were later scattered in Skye at Kilmuir. His Skye ancestry had been a strong influence in his life and work.


title: Alexander McQueen

text: A memorial was held for McQueen at St. Paul's Cathedral on 20 September 2010. It was attended by Björk, Kate Moss, Sarah Jessica Parker, Naomi Campbell, Stella McCartney, Daphne Guinness, Sam Taylor-Johnson, Aaron Taylor-Johnson, Lady Gaga and Anna Wintour amongst 2,500 other invited guests. On 18 February 2010, Robert Polet, the president and chief executive of the Gucci Group, announced that the Alexander McQueen business would carry on without its founder and creative director. Close friend Björk performed a version of "Gloomy Sunday" while dressed in a McQueen gown.


title: Alexander McQueen

text: The BBC reported that McQueen had reserved £50,000 of his wealth for his pet dogs so they could live in the lap of luxury for the rest of their lives. He also bequeathed £100,000 each to four charities; these include the Battersea Dogs and Cats Home in South London, and the Blue Cross animal welfare charity in Burford, Oxfordshire.


title: Alexander McQueen

text: On 16 February 2010, pop musician and friend Lady Gaga performed an acoustic, jazz rendition of her hit single "Telephone" and segued into "Dance in the Dark" at the 2010 Brit Awards. During the performance, Gaga paid tribute to McQueen, by dedicating a song to him. She also commemorated McQueen after accepting her award for Best International Artist, Best International Female, and Best International Album. Gaga dedicated a song to him, titled "Fashion of His Love", on the special edition of her third album, "Born This Way". R&B singer Monica dedicated her music video "Everything To Me" to McQueen. Björk, wearing a McQueen outfit, sang "Gloomy Sunday" at the memorial at St. Paul's Cathedral in London. Various other musicians, who were friends and collaborators with McQueen, paid tribute following his death, including Kanye West, Courtney Love, and Katy Perry.


title: Alexander McQueen

text: In March 2010, celebrities including Naomi Campbell, Kate Moss and Annabelle Neilson, among others, paid visual tribute to McQueen by wearing his distinctive 'manta' dresses.<ref name="tele 15/3"></ref> The 'manta' dresses, inspired by a scuba-diving holiday McQueen took to the Maldives in 2009, came from McQueen's 'Plato's Atlantis' collection of Spring-Summer 2010 which was at the time currently available to purchase. 'Manta' dresses had been worn by celebrities such as Daphne Guinness, Noot Seear, Anna Paquin, and Lily Cole prior to his death, and following the announcement that he had died, remaining stocks sold out despite prices starting at £2,800.


title: Alexander McQueen

text: In 2012, McQueen was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork—the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" album cover—to celebrate the British cultural figures of his life that he most admires. McQueen is also given homage in the popular MMO "World of Warcraft". There is an NPC dedicated to Alexander McQueen that is a Tailoring Trainer named Alexandra McQueen. This trainer is also the only one on the horde side that gives a special quest Cloth Scavenging. A dress designed by McQueen featured on a commemorative UK postage stamp issued by the Royal Mail in 2012 celebrating Great British Fashion.


title: Alexander McQueen

text: In 2016, a conceptual art piece made by Tina Gorjanc highlighted the possibility for corporations to copyright another human's DNA. She created a series out of pig leather tanned and tattooed to appear similar to McQueen's skin. She filed patents for her method of replicating McQueen's skin in the lab, and displayed these patents along with the leather collection. McQueen's family stated that they did not condone the use of his DNA for fashion projects but acknowledged that this project is exactly the sort of fashion experimentation he would have enjoyed.


title: Alexander McQueen

text: The Metropolitan Museum of Art in New York City hosted a posthumous exhibition of McQueen's work in 2011 titled "Savage Beauty". The exhibition's elaborate staging includes unique architectural finishes and soundtracks for each room. Despite being open for only three months, it was one of the most popular exhibitions in the museum's history. The exhibition was so successful that Alexander McQueen fans and industry professionals worldwide began rallying at Change.org to "Please Make Alexander McQueen's Savage Beauty a Traveling Exhibition" to bring honour to McQueen and see his vision become a reality: to share his work with the entire world. The exhibition then appeared in London's Victoria & Albert Museum between 14 March and 2 August 2015. It sold over 480,000 tickets, making it the most popular show ever staged at that museum.


title: Alexander McQueen

text: A second exhibition, "Lee Alexander McQueen": "Mind, Mythos, Muse", was staged at the Los Angeles County Museum of Art and the National Gallery of Victoria in 2022. It juxtaposed McQueen's designs with


title: Alexander McQueen

text: McQueen has been the subject of several books, both biographical and photographic. The first major biography was "Blood Beneath the Skin" (2015) by author Andrew Wilson. "" (2015) by fashion journalist Dana Thomas discusses his life and work in conjunction with John Galliano, another controversial British designer of the 1990s.


title: Alexander McQueen

text: In February 2015, on the fifth anniversary of McQueen's death, the James Phillips play "McQueen" premiered. The play is set over one night in London and follows a girl who breaks into the designer's home to steal a dress and is caught by McQueen. The production takes inspiration from his imaginative runway shows and was directed by John Caird. It has been described by McQueen's sister Janet as "true to his spirit". Stephen Wight and Dianna Agron played the leading roles.


title: Alexander McQueen

text: In 2016, it was announced that Jack O'Connell would play McQueen in a biographical film based on "Blood Beneath the Skin". English filmmaker Andrew Haigh was slated to direct. In 2017, both O'Connell and Haigh stated that they were no longer involved in the project.


title: Alexander McQueen

text: On 8 June 2018, the documentary "McQueen", written and directed by Ian Bonhôte and Peter Ettedgui, was released in the UK. It was described by "Harper's Bazaar" as "among the most accurate, sensitive, and moving. Using his collections as cornerstones, the documentary features candid interviews with colleagues, friends and even family of McQueen, who was known as Lee to the people he loved." The film was favourably reviewed, earning a score of 84 on the critical aggregator website Metacritic, indicating "universal acclaim", as well as a 99% rating on Rotten Tomatoes, with a Critics Consensus reading, ""McQueen" offers an intimate, well-sourced, and overall moving look at a young life and brilliant career that were tragically cut short."


title: Indonesian language

text: Indonesian ( ) is the official and national language of Indonesia. It is a standardized variety of Malay, an Austronesian language that has been used as a lingua franca in the multilingual Indonesian archipelago for centuries. Indonesia is the fourth most populous nation in the world, with over 270 million inhabitants—of which the majority speak Indonesian, which makes it one of the most widely spoken languages in the world.


title: Indonesian language

text: Most Indonesians, aside from speaking the national language, are fluent in at least one of the more than 700 indigenous local languages; examples include Javanese and Sundanese, which are commonly used at home and within the local community. However, most formal education and nearly all national mass media, governance, administration, and judiciary and other forms of communication are conducted in Indonesian.


title: Indonesian language

text: Under Indonesian rule from 1976 to 1999, Indonesian was designated as the official language of Timor Leste. It currently has the status of a working language under the country's present constitution along with English.


title: Indonesian language

text: The term "Indonesian" is primarily associated with the national standard dialect (). However, in a more loose sense, it also encompasses the various local varieties spoken throughout the Indonesian archipelago. Standard Indonesian is confined mostly to formal situations, existing in a diglossic relationship with vernacular Malay varieties, which are commonly used for daily communication, coexisting with the aforementioned regional languages.


title: Indonesian language

text: The Indonesian name for the language () is also occasionally used in English and other languages. "Bahasa Indonesia" is sometimes reduced to "Bahasa", which refers to the Indonesian subject ("Bahasa Indonesia") taught in schools, on the assumption that this is the name of the language. However, the word only means language. For example, "Korean language" is translated as . Indonesians generally may not recognize the name "Bahasa" alone when referring to their national language.


title: Indonesian language

text: Standard Indonesian is a standard language of "Riau Malay", which despite its common name is not based on the vernacular Malay dialects of the Riau Islands, but rather represents a form of Classical Malay as used in the 19th and early 20th centuries in the Riau-Lingga Sultanate. Classical Malay had emerged as a literary language in the royal courts along both shores of the Strait of Malacca, including the Johor Sultanate and Malacca Sultanate. Originally spoken in Northeast Sumatra, Malay has been used as a lingua franca in the Indonesian archipelago for half a millennium. It might be attributed to its ancestor, the Old Malay language (which can be traced back to the 7th century). The Kedukan Bukit Inscription and Prasasti Hujung Langit Pallawa script in Old Malay, Kawi script, Old Sumatra variant It is known that the name of the reigning King written on the 7th line is Your Majesty Parameswara Haji Yuwa Rajya Punku Syri Haridewa in Sumatra is the oldest surviving specimen of Old Malay, the language used by Srivijayan empire. Since the 7th century, the Old Malay language has been used in Nusantara (archipelago) (Indonesian archipelago), evidenced by Srivijaya inscriptions and by other inscriptions from coastal areas of the archipelago, such as Sojomerto inscription.


title: Indonesian language

text: Trade contacts carried on by various ethnic peoples at the time were the main vehicle for spreading the Old Malay language, which was the main communications medium among the traders. Ultimately, the Old Malay language became a lingua franca and was spoken widely by most people in the archipelago.


title: Indonesian language

text: Indonesian (in its standard form) has essentially the same material basis as the Malaysian standard of Malay and is therefore considered to be a variety of the pluricentric Malay language. However, it does differ from Malaysian Malay in several respects, with differences in pronunciation and vocabulary. These differences are due mainly to the Dutch and Javanese influences on Indonesian. Indonesian was also influenced by the (), which was the lingua franca of the archipelago in colonial times, and thus indirectly by other spoken languages of the islands.


title: Indonesian language

text: Malaysian Malay claims to be closer to the classical Malay of earlier centuries, even though modern Malaysian has been heavily influenced, in lexicon as well as in syntax, by English. The question of whether High Malay (Court Malay) or Low Malay (Bazaar Malay) was the true parent of the Indonesian language is still in debate. High Malay was the official language used in the court of the Johor Sultanate and continued by the Dutch-administered territory of Riau-Lingga, while Low Malay was commonly used in marketplaces and ports of the archipelago. Some linguists have argued that it was the more common Low Malay that formed the base of the Indonesian language.


title: Indonesian language

text: When the Dutch East India Company (VOC) first arrived in the archipelago at the start of the 1600s, the Malay language was a significant trading and political language due to the influence of Malaccan Sultanate and later the Portuguese. However, the language had never been dominant among the population of the Indonesian archipelago as it was limited to mercantile activity. The VOC adopted the Malay language as the administrative language of their trading outpost in the east. Following the bankruptcy of the VOC, the Batavian Republic took control of the colony in 1799, and it was only then that education in and promotion of Dutch began in the colony. Even then, Dutch administrators were remarkably reluctant to promote the use of Dutch compared to other colonial regimes. Dutch thus remained the language of a small elite: in 1940, only 2% of the total population could speak Dutch. Nevertheless, it did have a significant influence on the development of Malay in the colony: during the colonial era, the language that would be standardized as Indonesian absorbed a large amount of Dutch vocabulary in the form of loanwords.


title: Indonesian language

text: The nationalist movement that ultimately brought Indonesian to its national language status rejected Dutch from the outset. However, the rapid disappearance of Dutch was a very unusual case compared with other colonized countries, where the colonial language generally has continued to function as the language of politics, bureaucracy, education, technology, and other fields of importance for a significant time after independence. The Indonesian scholar even goes so far as to say that when compared to the situation in other Asian countries such as India, Malaysia, Singapore and the Philippines, "Indonesian is perhaps the only language that has achieved the status of a national language in its true sense" since it truly dominates in all spheres of Indonesian society. The ease with which Indonesia eliminated the language of its former colonial power can perhaps be explained as much by Dutch policy as by Indonesian nationalism. In marked contrast to the French, Spanish and Portuguese, who pursued an assimilation colonial policy, or even the British, the Dutch did not attempt to spread their language among the indigenous population. In fact, they consciously prevented the language from being spread by refusing to provide education, especially in Dutch, to the native Indonesians so they would not come to see themselves as equals. Moreover, the Dutch wished to prevent the Indonesians from elevating their perceived social status by taking on elements of Dutch culture. Thus, until the 1930s, they maintained a minimalist regime and allowed Malay to spread quickly throughout the archipelago.


title: Indonesian language

text: Dutch dominance at that time covered nearly all aspects, with official forums requiring the use of Dutch, although since the Second Youth Congress (1928) the use of Indonesian as the national language was agreed on as one of the tools in the independence struggle. As of it, Mohammad Hoesni Thamrin inveighed actions underestimating Indonesian. After some criticism and protests, the use of Indonesian was allowed since the "Volksraad" sessions held in July 1938. By the time they tried to counter the spread of Malay by teaching Dutch to the natives, it was too late, and in 1942, the Japanese conquered Indonesia. The Japanese mandated that all official business be conducted in Indonesian and quickly outlawed the use of the Dutch language. Three years later, the Indonesians themselves formally abolished the language and established "bahasa Indonesia" as the national language of the new nation. The term "bahasa Indonesia" itself had been proposed by Mohammad Tabrani in 1926, and Tabrani had further proposed the term over calling the language Malay language during the First Youth Congress in 1926.


title: Indonesian language

text: Several years prior to the congress, Swiss linguist, Renward Brandstetter wrote "" in 4 essays from 1910 to 1915. The essays were translated into English in 1916. By "Indonesia", he meant the name of the geographical region, and by "Indonesian languages" he meant languages in the region, because by that time there was still no notion of Indonesian language.


title: Indonesian language

text: Sutan Takdir Alisjahbana was a great promoter of the use and development of Indonesian and he was greatly exaggerating the decline of Dutch. Higher education was still in Dutch and many educated Indonesians were writing and speaking in Dutch in many situations (and were still doing so well after independence was achieved). He believed passionately in the need to develop Indonesian so that it could take its place as a fully adequate national language, able to replace Dutch as a means of entry into modern international culture. In 1933, he began the magazine "Pujangga Baru" (New Writer — "Poedjangga Baroe" in the original spelling) with co-editors Amir Hamzah and Armijn Pane. The language of Pujangga Baru came in for criticism from those associated with the more classical School Malay and it was accused of publishing Dutch written with an Indonesian vocabulary. Alisjahbana would no doubt have taken the criticism as a demonstration of his success. To him the language of Pujangga Baru pointed the way to the future, to an elaborated, Westernised language able to express all the concepts of the modern world. As an example, among the many innovations they condemned was use of the word "bisa" instead of "dapat" for ‘can’. In Malay "bisa" meant only ‘poison from an animal's bite’ and the increasing use of Javanese "bisa" in the new meaning they regarded as one of the many threats to the language's purity. Unlike more traditional intellectuals, he did not look to Classical Malay and the past. For him, Indonesian was a new concept; a new beginning was needed and he looked to Western civilisation, with its dynamic society of individuals freed from traditional fetters, as his inspiration.


title: Indonesian language

text: The prohibition on use of Dutch led to an expansion of Indonesian language newspapers and pressure on them to increase the language's wordstock. The Japanese agreed to the establishment of the Komisi Bahasa (Language Commission) in October 1942, formally headed by three Japanese but with a number of prominent Indonesian intellectuals playing the major part in its activities. Soewandi, later to be Minister of Education and Culture, was appointed secretary, Alisjahbana was appointed an ‘expert secretary’ and other members included the future president and vice-president, Sukarno and Hatta. Journalists, beginning a practice that has continued to the present, did not wait for the "Komisi Bahasa" to provide new words, but actively participated themselves in coining terms. Many of the Komisi Bahasa's terms never found public acceptance and after the Japanese period were replaced by the original Dutch forms, including "jantera" (Sanskrit for ‘wheel’), which temporarily replaced "mesin" (machine), "ketua negara" (literally ‘chairman of state’), which had replaced "presiden" (president) and "kilang" (meaning ‘mill’), which had replaced "pabrik" (factory). In a few cases, however, coinings permanently replaced earlier Dutch terms, including "pajak" (earlier meaning ‘monopoly’) instead of "belasting" (tax) and "senam" (meaning ‘exercise’) instead of "gimnastik" (gymnastics). The Komisi Bahasa is said to have coined more than 7000 terms, although few of these gained common acceptance.


title: Indonesian language

text: The adoption of Indonesian as the country's national language was in contrast to most other post-colonial states. Neither the language with the most native speakers (Javanese) nor the language of the former European colonial power (Dutch) was to be adopted. Instead, a local language with far fewer native speakers than the most widely spoken local language was chosen (nevertheless, Malay was the second most widely spoken language in the colony after Javanese, and had many L2 speakers using it for trade, administration, and education).


title: Indonesian language

text: In 1945, when Indonesia declared its independence, Indonesian was formally declared the national language, despite being the native language of only about 5% of the population. In contrast, Javanese and Sundanese were the mother tongues of 42–48% and 15% respectively. The combination of nationalistic, political, and practical concerns ultimately led to the successful adoption of Indonesian as a national language.


title: Indonesian language

text: In 1945, Javanese was easily the most prominent language in Indonesia. It was the native language of nearly half the population, the primary language of politics and economics, and the language of courtly, religious, and literary tradition. What it lacked, however, was the ability to unite the diverse Indonesian population as a whole. With thousands of islands and hundreds of different languages, the newly independent country of Indonesia had to find a national language that could realistically be spoken by the majority of the population and that would not divide the nation by favouring one ethnic group, namely the Javanese, over the others. In 1945, Indonesian was already in widespread use; in fact, it had been for roughly a thousand years. Over that long period, Malay, which would later become standardized as Indonesian, was the primary language of commerce and travel. It was also the language used for the propagation of Islam in the 13th to 17th centuries, as well as the language of instruction used by Portuguese and Dutch missionaries attempting to convert the indigenous people to Christianity. The combination of these factors meant that the language was already known to some degree by most of the population, and it could be more easily adopted as the national language than perhaps any other. Moreover, it was the language of the sultanate of Brunei and of future Malaysia, on which some Indonesian nationalists had claims.


title: Indonesian language

text: Over the first 53 years of Indonesian independence, the country's first two presidents, Sukarno and Suharto constantly nurtured the sense of national unity embodied by Indonesian, and the language remains an essential component of Indonesian identity. Through a language planning program that made Indonesian the language of politics, education, and nation-building in general, Indonesian became one of the few success stories of an indigenous language effectively overtaking that of a country's colonisers to become the "de jure" and "de facto" official language. Today, Indonesian continues to function as the language of national identity as the Congress of Indonesian Youth envisioned, and also serves as the language of education, literacy, modernization, and social mobility. Despite still being a second language to most Indonesians, it is unquestionably the language of the Indonesian nation as a whole, as it has had unrivalled success as a factor in nation-building and the strengthening of Indonesian identity.


title: Indonesian language

text: Indonesian is spoken as a mother tongue and national language. Over 200 million people regularly make use of the national language, with varying degrees of proficiency. In a nation that is home to more than 700 native languages and a vast array of ethnic groups, it plays an important unifying and cross-archipelagic role for the country. Use of the national language is abundant in the media, government bodies, schools, universities, workplaces, among members of the upper-class or nobility and also in formal situations, despite the 2010 census showing only 19.94% of over-five-year-olds speak mainly Indonesian at home.


title: Indonesian language

text: Standard Indonesian is used in books and newspapers and on television/radio news broadcasts. The standard dialect, however, is rarely used in daily conversations, being confined mostly to formal settings. While this is a phenomenon common to most languages in the world (for example, spoken English does not always correspond to its written standards), the proximity of spoken Indonesian (in terms of grammar and vocabulary) to its normative form is noticeably low. This is mostly due to Indonesians combining aspects of their own local languages (e.g., Javanese, Sundanese, and Balinese) with Indonesian. This results in various vernacular varieties of Indonesian, the very types that a foreigner is most likely to hear upon arriving in any Indonesian city or town. This phenomenon is amplified by the use of Indonesian slang, particularly in the cities. Unlike the relatively uniform standard variety, Vernacular Indonesian exhibits a high degree of geographical variation, though Colloquial Jakartan Indonesian functions as the "de facto" norm of informal language and is a popular source of influence throughout the archipelago.


title: Indonesian language

text: The most common and widely used colloquial Indonesian is heavily influenced by the Betawi language, a Malay-based creole of Jakarta, amplified by its popularity in Indonesian popular culture in mass media and Jakarta's status as the national capital. In informal spoken Indonesian, various words are replaced with those of a less formal nature. For example, (no) is often replaced with the Betawi form or the even simpler , while (like, similar to) is often replaced with . or (very), the term to express intensity, is often being replaced with the Javanese-influenced .


title: Indonesian language

text: As for pronunciation, the diphthongs "ai" and "au" on the end of base words are typically pronounced as and . In informal writing, the spelling of words is modified to reflect the actual pronunciation in a way that can be produced with less effort. For example, becomes or , becomes , becomes .


title: Indonesian language

text: In verbs, the prefix "me-" is often dropped, although an initial nasal consonant is often retained, as when becomes (the basic word is ). The suffixes "-kan" and "-i" are often replaced by "-in". For example, becomes , becomes . The latter grammatical aspect is one often closely related to the Indonesian spoken in Jakarta and its surrounding areas.


title: Indonesian language

text: Malay historical linguists agree on the likelihood of the Malay homeland being in western Borneo stretching to the Bruneian coast. A form known as Proto-Malay language was spoken in Borneo at least by 1000 BCE and was, it has been argued, the ancestral language of all subsequent Malayan languages. Its ancestor, Proto-Malayo-Polynesian, a descendant of the Proto-Austronesian language, began to break up by at least 2000 BCE, possibly as a result of the southward expansion of Austronesian peoples into Maritime Southeast Asia from the island of Taiwan. Indonesian, which originated from Malay, is a member of the Austronesian family of languages, which includes languages from Southeast Asia, the Pacific Ocean and Madagascar, with a smaller number in continental Asia. It has a degree of mutual intelligibility with the Malaysian standard of Malay, which is officially known there as , despite the numerous lexical differences. However, vernacular varieties spoken in Indonesia and Malaysia share limited intelligibility, which is evidenced by the fact that Malaysians have difficulties understanding Indonesian sinetron (soap opera) aired on Malaysia TV stations, and vice versa.


title: Indonesian language

text: Malagasy, a geographic outlier spoken in Madagascar in the Indian Ocean; the Philippines national language, Filipino; Formosan in Taiwan's aboriginal population; and the native Māori language of New Zealand are also members of this language family. Although each language of the family is mutually unintelligible, their similarities are rather striking. Many roots have come virtually unchanged from their common ancestor, Proto-Austronesian language. There are many cognates found in the languages' words for kinship, health, body parts and common animals. Numbers, especially, show remarkable similarities.


title: Indonesian language

text: There are more than 700 local languages in Indonesian islands, such as Javanese, Sundanese, etc. While, Malay as the source of Indonesian is mother tongue of ethnic Malay who lives along east coast of Sumatra, in Riau Archipelago, south and west coast of Kalimantan (Borneo). There are several areas, such as Jakarta, Manado, Lesser Sunda islands, and Mollucas which has Malay-based trade languages. Thus, a large proportion of Indonesian, at least, use two language daily, those are Indonesian and local languages. When two languages are used by the same people in this way, they are likely to influence each other.


title: Indonesian language

text: Beside from local languages, Dutch made the highest contribution to the Indonesian vocabulary, due to the Dutch's colonization for over three centuries, from the 16th century until the mid-20th century. Asian languages also influenced the language, with Chinese influencing Indonesian during the 15th and 16th centuries due to the spice trade; Sanskrit, Tamil, Prakrit and Hindi contributing during the flourishing of Hindu and Buddhist kingdoms from the 2nd to the 14th century; followed by Arabic after the spread of Islam in the archipelago in the 13th century. Loanwords from Portuguese were mainly connected with articles that the early European traders and explorers brought to Southeast Asia. Indonesian also receives many English words as a result of globalization and modernization, especially since the 1990s, as far as the Internet's emergence and development until the present day. Some Indonesian words correspond to Malay loanwords in English, among them the common words "orangutan", "gong", "bamboo", "rattan", "sarong", and the less common words such as "paddy", "sago" and "kapok", all of which were inherited in Indonesian from Malay but borrowed from Malay in English. The phrase "to run amok" comes from the Malay verb (to run out of control, to rage).


title: Indonesian language

text: Indonesian is neither a pidgin nor a creole since its characteristics do not meet any of the criteria for either. It is believed that the Indonesian language was one of the means to achieve independence, but it is opened to receive vocabulary from other foreign languages aside from Malay that it has made contact with since the colonialism era, such as Dutch, English and Arabic among others, as the loan words keep increasing each year.


title: Indonesian language

text: In 2010, Indonesian had 42.8 million native speakers and 154.9 million second-language speakers, who speak it alongside their local mother tongue, giving a total number of speakers in Indonesia of 197.7 million. It is common as a first language in urban areas, and as a second language by those residing in more rural parts of Indonesia.


title: Indonesian language

text: The VOA and BBC use Indonesian as their standard for broadcasting in Malay. In Australia, Indonesian is one of three Asian target languages, together with Japanese and Mandarin, taught in some schools as part of the Languages Other Than English programme. Indonesian has been taught in Australian schools and universities since the 1950s.


title: Indonesian language

text: In East Timor, which was occupied by Indonesia between 1975 and 1999, Indonesian is recognized by the constitution as one of the two working languages (the other being English), alongside the official languages of Tetum and Portuguese. It is understood by the Malay people of Australia's Cocos Keeling Islands in the Indian Ocean, also in some parts of the Sulu area of the southern Philippines and traces of it are to be found among people of Malay descent in Sri Lanka, South Africa, Suriname, and other places.


title: Indonesian language

text: Indonesian is taught as a foreign language in schools, universities and institutions around the world, especially in Australia, the Netherlands, Japan, South Korea, Timor Leste, Vietnam, Taiwan, the United States, and England.


title: Indonesian language

text: Indonesian is the official language of Indonesia, and its use is encouraged throughout the Indonesian archipelago. It is regulated in Chapter XV, 1945 Constitution of Indonesia about the flag, official language, coat of arms, and national anthem of Indonesia. Also, in Chapter III, Section 25 to 45, Government regulation No. 24/ 2009 mentions explicitly the status of the Indonesian language.<ref name="UU No 24/2009"></ref>


title: Indonesian language

text: Indonesian functions as a symbol of national identity and pride, and is a "lingua franca" among the diverse ethnic groups in Indonesia. The language serves as the national and official language, the language of education, communication, transaction and trade documentation, the development of national culture, science, technology, and mass media. It also serves as a vehicle of communication among the provinces and different regional cultures in the country.


title: Indonesian language

text: According to Indonesian law, the Indonesian language was proclaimed as the unifying language during the Youth Pledge on 28 October 1928 and developed further to accommodate the dynamics of Indonesian civilization. As mentioned previously, the language was based on Riau Malay, though linguists note that this is not the local dialect of Riau, but the Malaccan dialect that was used in the Riau court. Since its conception in 1928 and its official recognition in the 1945 Constitution, the Indonesian language has been loaded with a nationalist political agenda to unify Indonesia (former Dutch East Indies). This status has made it relatively open to accommodate influences from other Indonesian ethnic languages, most notably Javanese as the majority ethnic group, and Dutch as the previous coloniser. Compared to the indigenous dialects of Malay spoken in Sumatra and Malay peninsula or the normative Malaysian standard, the Indonesian language differs profoundly by a large amount of Javanese loanwords incorporated into its already-rich vocabulary. As a result, Indonesian has more extensive sources of loanwords, compared to Malaysian Malay. It is sometimes said that the Indonesian language is an artificial language, meaning that it was designed by academics rather than evolving naturally as most common languages have, in order to accommodate the political purpose of establishing an official and unifying language of Indonesia. By borrowing heavily from numerous other languages, it expresses a natural linguistic evolution; in fact, it is as natural as the next language, as demonstrated in its exceptional capacity for absorbing foreign vocabulary.


title: Indonesian language

text: The disparate evolution of Indonesian and Malaysian has led to a rift between the two standardized varieties. This has been based more upon political nuance and the history of their standardization than cultural reasons, and as a result, there are asymmetrical views regarding each other's variety among Malaysians and Indonesians. Malaysians tend to assert that Malaysian and Indonesian are merely different normative varieties of the same language, while Indonesians tend to treat them as separate, albeit closely related, languages. Consequently, Indonesians feel little need to harmonise their language with Malaysia and Brunei, whereas Malaysians are keener to coordinate the evolution of the language with Indonesians, although the 1972 Indonesian alphabet reform was seen mainly as a concession of Dutch-based Indonesian to the English-based spelling of Malaysian.


title: Indonesian language

text: It is usually said that there are six vowels in Indonesian. These six vowels are shown in the table below. However, other analyses set up a system with other vowels, particularly the open-mid vowels and .


title: Indonesian language

text: In standard Indonesian orthography, the Latin alphabet is used, and five vowels are distinguished: "a, i, u, e, o". In materials for learners, the mid-front vowel /e/ is sometimes represented with a diacritic as ⟨é⟩ to distinguish it from the mid-central vowel ⟨ê⟩ /ə/.


title: Indonesian language

text: Indonesian has distinguished ⟨é⟩ [] and ⟨è⟩ [] since 2015, while Standard Malay has rendered both of them as ⟨é⟩. Poedjosoedarmo argued the split of the front mid vowels in Indonesian is due to Javanese influence which exhibits a difference between ⟨i⟩ [], ⟨é⟩ [] and è []. Another example of Javanese influence in Indonesian is the split of back mid vowels into two allophones of [] and []. These splits (and loanwords) increase instances of doublets in Indonesian, such as ⟨"satai"⟩ and ⟨"saté"⟩. Javanese words adopted into Indonesian have greatly increased the frequency of Indonesian ⟨é⟩ and ⟨o⟩. High vowels (⟨i⟩, ⟨u⟩) could not appear in a final syllable in traditional Malay if a mid-vowel (⟨e⟩, ⟨o⟩) happened in the previous syllable, and mid-vowels could not occur in the final syllable if a high vowel was present in the second-to-last syllable.


title: Indonesian language

text: Traditional Malay does not allow the mid-central schwa vowel to occur in consonant open or closed word-final syllables. The schwa vowel was introduced in closed syllables under the influence of Javanese and Jakarta Malay, but Dutch borrowings made it more acceptable. Although Alisjahbana argued against it, insisting on writing ⟨a⟩ instead of an ⟨ê⟩ in final syllables such as "koda" (vs "kodə" 'code') and nasionalisma (vs "nasionalismə" 'nationalism'), he was unsuccessful. This spelling convention was instead survived in Balinese orthography.


title: Indonesian language

text: Some analyses assume that these diphthongs are actually a monophthong followed by an approximant, so represents , represents , and represents . On this basis, there are no phonological diphthongs in Indonesian.


title: Indonesian language

text: The consonants of Indonesian are shown above. Non-native consonants that only occur in borrowed words, principally from Arabic and English, are shown in parentheses. Some analyses list 19 "primary consonants" for Indonesian as the 18 symbols that are not in parentheses in the table as well as the glottal stop . The secondary consonants /f/, /v/, /z/, /ʃ/ and /x/ only appear in loanwords. Some speakers pronounce /v/ in loanwords as [v], otherwise it is [f]. Likewise /x/ may be replaced with [h] or [k] by some speakers. /ʃ/ is sometimes replaced with /s/, which was traditionally used as a substitute for /ʃ/ in older borrowings from Sanskrit, and /f/ is rarely replaced though /p/ was substituted for /f/ in older borrowings such as kopi "coffee" from Dutch koffie. /z/ may occasionally be replaced with /s/ or /d͡ʒ/. [z] can also be an allophone of /s/ before voiced consonants.


title: Indonesian language

text: The consonants in Indonesian is influenced by other important language in Indonesian history. The influences included schwa in final closed syllable (e.g. Indonesian pəcəl vs Malay pəcal), initial homorganic nasal stop clusters of ⟨mb⟩, ⟨nd⟩, and ⟨nj⟩ (e.g. Indonesian "mbolos" 'to malinger'), the consonant-semivowel clusters (e.g. Indonesian "pria" vs Malay "pəria" 'male'), introduction of consonant clusters ⟨-ry-⟩ and ⟨-ly-⟩ (e.g. Indonesian "gərilya" vs Malay "gərila" 'guerrilla'), increase usage of initial ⟨w-⟩ (e.g. "warta" and "bərita" 'news') and intervocalic ⟨w-⟩, and increase of initial and post-consonant ⟨y⟩ [j]. These changes are influence of local languages in Indonesia, such as Balinese, Madurese, Sundanese and especially Javanese, and foreign languages such as Arabic and Dutch.


title: Indonesian language

text: Indonesian has light stress that falls on either the final or penultimate syllable, depending on regional variations as well as the presence of the schwa () in a word. It is generally the penultimate syllable that is stressed, unless its vowel is a schwa . If the penult has a schwa, then stress moves to the ante-penultimate syllable if there is one, even if that syllable has a schwa as well; if the word is disyllabic, the stress is final. In disyllabic stress with a closed penultimate syllable, such as "tinggal" ('stay') and "rantai" ('chain'), stress falls on the penult.


title: Indonesian language

text: However, there is some disagreement among linguists over whether stress is phonemic (unpredictable), with some analyses suggesting that there is no underlying stress in Indonesian.


title: Indonesian language

text: The classification of languages based on rhythm can be problematic. Nevertheless, acoustic measurements suggest that Indonesian has more syllable-based rhythm than British English, even though doubts remain about whether the syllable is the appropriate unit for the study of Malay prosody.