Mugler

The designer, the superstylist, and the superstar. The finale of the much-anticipated Mugler show, with Nicola Formichetti, Sébastien Peigné and Lady Gaga clutching each other like cool kids exiting a party, summed up the formula that Mugler management hopes will revitalize the house.


In a way, the time is right for a Mugler revival, as the eccentric American pop star has brought back the kind of exaggerated proportions the founder of the iconic house so passionately promoted. Formichetti and Peigné have, predictably, seized the moment with what one could call high-camp Gagawear: form-fitting skin dresses (with a transparent upper half, vinyl pants, fur-sleeved shrugs), jackets sculpted out of a latex-like material with a shoulder shape baptized the “metropolis,” saucer hats, body-hugging jumpsuits and arc-heeled vertiginous platform shoes that was not the only reference to the late Alexander McQueen. The result was an extreme, otherworldly, elongated silhouette, or Formichetti’s vision of a “post-human android-goddess.”

What the collection lacked was impeccable fit and a sense of novelty. But then, the show was about what Gaga already is. And when she unexpectedly (sort of) appeared on the runway, dragging on a cigarette and camping it up amid the vaulted, church-like set design, you could hear concert-worthy shrieks from the audience.

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