Mind the gap on Mugler’s white knuckle ride

by Qsimple

Mind the gap on Mugler’s white knuckle ride

Article by Louboutin Prix

SOMETHING was missing on Thierry Mugler’s Paris catwalk – half the outfits.

Every season the designer finds a new way to reveal as much leg, bust, bottom and thigh as possible and this collection was no different.

Mugler’s latest spin on sexy couture was to cut great swathes out of dresses, suits and trousers, leaving nothing but bare skin, thinly veiled in flesh-coloured mesh showing through the gaps.

Featuring some of the scariest ensembles seen on the couture catwalks all week, last night’s show was a real white knuckle ride, from the opening outfit, a nipped-in day suit with slices taken out below the bossom, crotch and thighs, to the last, a sheer gown sprinkled with jet-beaded chantilly lace, strategically placed so as to show as much of the model’s naked body as possible.

There was the white cape worn with orange bellbottomed “legs” the top half of the trousers were completely sheer – and Mugler’s homage to Andy Warhol’s Marylin silk screen, a razor-cut white jacket and slashed-to-the-waist skirt worn with a latex body and a single thigh-high boot. Mugler called it “Future Couture” but should have been titled “Apocalypse Now”. The only dress that looked in any way pretty was made from crocheted rattan twine spun into a sculptured crinoline.

The Mugler aficionados loved his camp, futuristic vision.

They are easy to spot because despite their corsets, towering hair and pancake makeup, it is still impossible to tell what sex they are. The same could be said of the models.

Was that Nadja Aurman in the crinoline with fiery petticoats or was it a drag queen?

Mugler’s ability justifies his place on the couture runway, but why can’t he use it to make women look like women as opposed to contestants in the alternative Miss World contest?

Are sardines sexy?

Well, Italian design duo Dolce & Gabbana think so. And to prove it, they assembled a few of the world’s catsuits latex media at a pre-show briefing.

“Fish are sexy,” Stefano Gabbana said. “The way they move is sexy – their skin and their texture.”

This piscatorial passion seems to have replaced the designers’ more famous inspiration of steamy, southern Italian sex goddess Sophia Loren.

For their last spring-summer collection of the century, Dolce & Gabbana have gone high tech, translating their fish obsession into hologram fabrics “which have the look of shiny fish skin”.

The experiment began last season with shiny plastic silver and gold foils handpainted with flowers. This season the hologram fabrics came in dazzling patterns of aquamarine blue and sea greens, along with shiny silk-satin, lacquered with a plastic coating to look like leather and laser-cut latex, embossed with lace patterns.

Handpainted sardines darted across a shiny lacquered strapless dress and a large lobster, a homage to Elsa Schiaparelli’s surrealistic designs of the ’30s, swam across a skin tight black dress.

On the same day, the “architect” of Italian fashion Gianfranco Ferre, celebrated 20 years in fashion by showing his high-style vision on the ultimate glamour girl Naomi Campbell. Despite his extraordinary mastery of cut and technique, Ferre’s skin-tight super short dresses and overtly sexy studded black leathers somehow spoke more of the ’80s than of design for the new millennium

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SOMETHING was missing on Thierry Mugler’s Paris catwalk – half the outfits.

Every season the designer finds a new way to reveal as much leg, bust, bottom and thigh as possible and this collection was no different.