Thierry Mugler's perfume "Angel" comes in a bottle shaped like an off-kilter star; it's a telling choice. At first glance, Mugler's designs seem like a 1970s version of space age, with lots of pointy spears, big shoulders, and gravity-defying basques, all executed in his shimmering, "classic" materials--vinyl and leather. But the real influence is late 1920s and '30s Hollywood, the days when Edith Head and Adrian were designing gowns for Joan Crawford, Gloria Swanson, and Jean Harlow. And it's these outsize personalities who are the key to Mugler: his ideal woman is a dominatrix-cum-star; fashion for him is a "very demanding mistress." So he fills his runways with character supermodels (Jerry, Eva, Naomi, Cindy) and an eclectic mix of stars (Cyd Charisse, Diana Ross, Sharon Stone, Ivana, Tippi Hedren)--in Mugler's words, "personalities who know and accept who they are and fashion themselves accordingly."
This beautifully designed book brings together more than 250 photographs--some by the man himself, others by stars in their own right (Helmut Newton, David LaChapelle)--from his diverse ventures: the first public fashion show, George Michael's "Too Funky" video, Macbeth for the Comédie Française. The collection proves Mugler to be an utterly distinctive, yet endlessly inventive, talent. --Alan StewartFrom Publishers Weekly:
Context is the key in this collection of fashion photographs by French fashion designer Mugler. Setting his models against dramatic architectural backgrounds, he plays off texture against texture, color against color and the human in scale against the simply colossal. A spirit of self-referential humor infuses many of the color-saturated images as models mimic poses of huge statues, many of them political, or provide a provocative human focus in an imposing natural background. Mugler's contexts include the Algerian Sahara with vast reaches of patterned, shadowed sand, Arizona's Monument Valley, giant sunlit icefloes in Greenland and modern icons of architecture such as New York's Chrysler Building and ultra-modern facades in Paris and Moscow. As gathered here, the photographs are less revealing of modern fashion (not all the models wear Mugler designs) than they are of a particular cultural overview, making the foreword from France's Minister of Culture particularly fitting. Small black-and-white replications provide fashion information and identify settings.
Copyright 1988 Reed Business Information, Inc.
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