Thierry Mugler MBAM(104)
Thierry Mugler Couturissme Musée Des Beaux-Arts Montréal
en.wikipedia.org/wiki/Thierry_Mugler
www.mbam.qc.ca/expositions/a-laffiche/thierry-mugler/
www.youtube.com/watch?v=chnZ0zc5Klk
www.youtube.com/watch?v=WtmMS3kmRn0
www.youtube.com/watch?v=Qht7JRaePO0
www.youtube.com/watch?v=JQ2DVwSVIIo
George Michael Video Too Funky
Directed by ? ( = Thierry Mugler)
Futuristic and Fembot Couture
“In my work I’ve always tried to make people look stronger than they really are.” The aerodynamic and robot-style looks invented by Mugler are now iconic. He took his inspiration from science fiction and comic-book heroines, from medieval armour and uniforms, from industrial design and futuristic vehicles. At the frontiers of reality, his automotive bodywork-clad creatures and cyborgs foreshadow transhumanist revolutions.
In 1989, Mugler presented his Hiver Buick collection in homage to the American Harley J. Earl, the designer of the 1959 Cadillac Eldorado’s famous tail fins. For it the couturier playfully devised detachable or “convertible” sheath gowns, “fender” bustiers and “radiator” belts, not to mention a “tail fin” bag.
Mugler later collaborated with Jean-Pierre Delcros, an aircraft bodywork specialist and Jean-Jacques Ureun, an industrial designer, in using novel techniques to create magnificent robot-creatures seemingly poured into chrome bustiers and Plexiglas catsuits. His all-time masterpiece is the Maschinenmensch [robot-woman]: in 1995, at his fashion house’s twentieth-anniversary show, the model, wearing a large hat and black chiffon gown under a purple satin evening coat, revealed her robotized body. Paying tribute to the character of Futura from the dystopian novel Metropolis—written in 1925 by Thea von Harbou and adapted for film by Fritz Langin 1927—the outfit required six months of intensive work. Like a crab’s shell, its body armour is jointed by way of pieces attached by leather and rubber, and a plastic internal framework facilitates its movements over skin.
These remarkable couture objects continue to fascinate. The chrome bikini, fembot outfit and crystal adorned gold bodysuit with matching articulated armpieces and glove have been immortalized by leading photographers, from Helmut Newton to Herb Ritts, and worn by numerous stars, from Beyoncé to Lady Gaģa.
Mugler’s Metropolis was designed by artist and set designer Philipp Fürhofer, Berlin.
From the placard: Musée Des Beaux-Arts Montréal
Thierry Mugler MBAM(104)
Thierry Mugler Couturissme Musée Des Beaux-Arts Montréal
en.wikipedia.org/wiki/Thierry_Mugler
www.mbam.qc.ca/expositions/a-laffiche/thierry-mugler/
www.youtube.com/watch?v=chnZ0zc5Klk
www.youtube.com/watch?v=WtmMS3kmRn0
www.youtube.com/watch?v=Qht7JRaePO0
www.youtube.com/watch?v=JQ2DVwSVIIo
George Michael Video Too Funky
Directed by ? ( = Thierry Mugler)
Futuristic and Fembot Couture
“In my work I’ve always tried to make people look stronger than they really are.” The aerodynamic and robot-style looks invented by Mugler are now iconic. He took his inspiration from science fiction and comic-book heroines, from medieval armour and uniforms, from industrial design and futuristic vehicles. At the frontiers of reality, his automotive bodywork-clad creatures and cyborgs foreshadow transhumanist revolutions.
In 1989, Mugler presented his Hiver Buick collection in homage to the American Harley J. Earl, the designer of the 1959 Cadillac Eldorado’s famous tail fins. For it the couturier playfully devised detachable or “convertible” sheath gowns, “fender” bustiers and “radiator” belts, not to mention a “tail fin” bag.
Mugler later collaborated with Jean-Pierre Delcros, an aircraft bodywork specialist and Jean-Jacques Ureun, an industrial designer, in using novel techniques to create magnificent robot-creatures seemingly poured into chrome bustiers and Plexiglas catsuits. His all-time masterpiece is the Maschinenmensch [robot-woman]: in 1995, at his fashion house’s twentieth-anniversary show, the model, wearing a large hat and black chiffon gown under a purple satin evening coat, revealed her robotized body. Paying tribute to the character of Futura from the dystopian novel Metropolis—written in 1925 by Thea von Harbou and adapted for film by Fritz Langin 1927—the outfit required six months of intensive work. Like a crab’s shell, its body armour is jointed by way of pieces attached by leather and rubber, and a plastic internal framework facilitates its movements over skin.
These remarkable couture objects continue to fascinate. The chrome bikini, fembot outfit and crystal adorned gold bodysuit with matching articulated armpieces and glove have been immortalized by leading photographers, from Helmut Newton to Herb Ritts, and worn by numerous stars, from Beyoncé to Lady Gaģa.
Mugler’s Metropolis was designed by artist and set designer Philipp Fürhofer, Berlin.
From the placard: Musée Des Beaux-Arts Montréal