jumpsuit with a neckline plunging down to her navel, is striking poses. The outfit was designed by London-based fashion designer Fee Doran under the label Mrs Jones. According to Minogue, the outfit was inspired by fashion designs worn by Jamaican singer and model, Grace Jones. Minogue then performs a synchronised dance routine with several backup dancers, who are wearing red-and-black suits reminiscent of Kraftwerk's Man Machine uniforms. As the video ends, Minogue—again with curly hair and wearing a lavender halter-neck dress with ribbon tile trim, performs a similar routine on top of a building at night. Impact At the 2002 MTV Video Music Awards ceremony, the music video was nominated for Best Dance Video; Rooney won the award for Best Choreography. The hooded white jumpsuit Minogue wore in the music video is often considered to be one of her most iconic looks, particularly because of its deep, plunging neckline. Minogue's stylist William Baker described the choice of the outfit, saying, "it was pure but kind of slutty at the same time". The outfit was put on display at Kylie: The Exhibition, which featured memorabilia and costumes from Minogue's career, which was held at the Victoria and Albert Museum in London, and at the similar Kylie: an exhibition at the Powerhouse Museum in Sydney. The jumpsuit was also included in Minogue's official fashion photography book Kylie / Fashion, which was released to celebrate her 25 years in music. The music video served as an inspiration for Morley while writing his book Words and Music: The History of Pop in the Shape of a City. In it, Morley said he "turned the lonely drive [Minogue] made in the song's video towards a city ... into a fictional history of music". University lecturers Diane Railton and Paul Weston, in their 2005 essay "Naughty Girls and Red Blooded Women (Representations of Female Heterosexuality in Music Video)", contrasted the music video of "Can't Get You Out of My Head" with that of Beyoncé's 2003 single "Baby Boy"; while both videos focus on two singers performing seductive dance routines, Minogue is presented in a calculated manner and "is always provisional, restricted, and contingent", whereas Beyoncé displays a particular "primitive, feral, uncontrolled and uncontrollable" sexuality that is embodied in the black female body. Railton and Weston said the videos are representative of the depictions of white and black women in colonial times and pop culture, respectively. Live