Inside the Thierry Mugler exhibit at the Brooklyn Museum
The past is not only the present, but it is also the fate of Brooklyn New Museum exhibition "Thierry: Couturissime.”
This message rang loud and clear, at one point during a Monday morning walk with the Head of Museum Curator of Style and Fabric Subculture Matthew Yokobosky, Creative Director Casey Cadwallader, and the pinnacle of Mugler information, Marion Bourdée. As captivating and awe-inspiring as the show is, it will also sound the death knell, because Mugler died suddenly in January at the age of 73. The Brooklyn exhibit could be the very last stop on a five-city tour.
While the multi-year lineup of a hundred provocative and often incomparable ensembles boils down to a retrospective , Yokobosky sees it more as "a dramatic assessment" of the thematic threads that run through the seamstress' work. Multimedia, and at some point olfactory, the exhibit, which opens to the general public on Friday and runs through May 7, magnifies Mugler's zeal for theatre, myth, movement, science fiction, eroticism, excessive glamour, the natural world and especially strength. in all its glory. The exhibition is curated by Thierry-Maxime Loriot, guest curator at the Montreal Museum of Fine Arts. Brooklyn's presentation was coordinated by Yokobosky.
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The remnants of Mugler's upbringing in Strasbourg, France, and his lifelong interest in scenery Theatrical displays can be seen inside the Goth-stimulated opener-a life-time hologram projection by Michel Lemieux of Mugler's designs for a theatrical production of 'The Tragedy of Macbeth,' which was presented by the Comédie-Française at the 1985 Avignon Festival. Growing up in the shadow of Strasbourg Cathedral, which by then became the tallest building in Europe, became one of Mugler's many effects. Sketches of the costumes, at various levels, are displayed on a nearby wall for those seeking closer inspection. Initially, the performers were reluctant to wear the armor-like costumes due to their weight, but Mugler convinced them that the heavier they were, the more they reflected a character's fragility, Bourdée said.
>Having first studied ballet at age 9 and accomplished throughout his teens, Mugler also studied ornamental arts. As the son of a doctor, Mugler understood the mechanics of the body not only as a dancer, but also throughout his father's career. This attention to anatomy is evident inside the myriad of frame-hugging, but not restrictive, designs featured. To achieve some of the edgier pieces, Mugler brought in talents outside fashion, as well as a few inside, including corset-maker Mister Pearl. Besides being a top-notch tailor, Mugler "created images and he didn't just make beautiful clothes," Yokobosky said.
The wonderful transparent and opaque corsets that can be seen in some of Newton's 23 photographs and additionally problematic the garments on display are some of the materials Cadwallader uses for the ready-to-wear concept and for a recent collaboration with Wolford. "I always try to talk about new [things] to be more helpful to humans today," he said.
Helmut Newton, Guy Bourdin, Lillian Bassman, David LaChapelle, Sarah Moon and Herb Ritts were among the many snipers with whom Mugler partnered. After giving Newton too many clues on a shoot, the photographer warned Mugler to lend him a hand. The couturier simply did that by starting to shoot his own ad campaigns, enlisting the likes of Iman, Jerry Hall, Pat Cleveland, Linda Evangelista and Naomi Campbell. One of the biggest death challenges can be seen inside the framed prints of clothing perched on the gargoyle light fixtures outside on the 61st floor of the Chrysler Building, a shoot that required a week of waiting for the perfect windless day. Overall, Mugler's method has become different from “say Lagerfeld, in which you love it to be a garment and a space. It was much more theater, in which he found these high quality human beings and architecture,” Yokobosky said.
The past is not only the present, but it is also the fate of Brooklyn New Museum exhibition "Thierry: Couturissime.”
This message rang loud and clear, at one point during a Monday morning walk with the Head of Museum Curator of Style and Fabric Subculture Matthew Yokobosky, Creative Director Casey Cadwallader, and the pinnacle of Mugler information, Marion Bourdée. As captivating and awe-inspiring as the show is, it will also sound the death knell, because Mugler died suddenly in January at the age of 73. The Brooklyn exhibit could be the very last stop on a five-city tour.
While the multi-year lineup of a hundred provocative and often incomparable ensembles boils down to a retrospective , Yokobosky sees it more as "a dramatic assessment" of the thematic threads that run through the seamstress' work. Multimedia, and at some point olfactory, the exhibit, which opens to the general public on Friday and runs through May 7, magnifies Mugler's zeal for theatre, myth, movement, science fiction, eroticism, excessive glamour, the natural world and especially strength. in all its glory. The exhibition is curated by Thierry-Maxime Loriot, guest curator at the Montreal Museum of Fine Arts. Brooklyn's presentation was coordinated by Yokobosky.
Related Galleries
The remnants of Mugler's upbringing in Strasbourg, France, and his lifelong interest in scenery Theatrical displays can be seen inside the Goth-stimulated opener-a life-time hologram projection by Michel Lemieux of Mugler's designs for a theatrical production of 'The Tragedy of Macbeth,' which was presented by the Comédie-Française at the 1985 Avignon Festival. Growing up in the shadow of Strasbourg Cathedral, which by then became the tallest building in Europe, became one of Mugler's many effects. Sketches of the costumes, at various levels, are displayed on a nearby wall for those seeking closer inspection. Initially, the performers were reluctant to wear the armor-like costumes due to their weight, but Mugler convinced them that the heavier they were, the more they reflected a character's fragility, Bourdée said.
>Having first studied ballet at age 9 and accomplished throughout his teens, Mugler also studied ornamental arts. As the son of a doctor, Mugler understood the mechanics of the body not only as a dancer, but also throughout his father's career. This attention to anatomy is evident inside the myriad of frame-hugging, but not restrictive, designs featured. To achieve some of the edgier pieces, Mugler brought in talents outside fashion, as well as a few inside, including corset-maker Mister Pearl. Besides being a top-notch tailor, Mugler "created images and he didn't just make beautiful clothes," Yokobosky said.
The wonderful transparent and opaque corsets that can be seen in some of Newton's 23 photographs and additionally problematic the garments on display are some of the materials Cadwallader uses for the ready-to-wear concept and for a recent collaboration with Wolford. "I always try to talk about new [things] to be more helpful to humans today," he said.
Helmut Newton, Guy Bourdin, Lillian Bassman, David LaChapelle, Sarah Moon and Herb Ritts were among the many snipers with whom Mugler partnered. After giving Newton too many clues on a shoot, the photographer warned Mugler to lend him a hand. The couturier simply did that by starting to shoot his own ad campaigns, enlisting the likes of Iman, Jerry Hall, Pat Cleveland, Linda Evangelista and Naomi Campbell. One of the biggest death challenges can be seen inside the framed prints of clothing perched on the gargoyle light fixtures outside on the 61st floor of the Chrysler Building, a shoot that required a week of waiting for the perfect windless day. Overall, Mugler's method has become different from “say Lagerfeld, in which you love it to be a garment and a space. It was much more theater, in which he found these high quality human beings and architecture,” Yokobosky said.
