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El mundo de la moda está lleno de inspiración y referencia. Cada diseñador tiene las suyas propias y yo procuro compartir las mías con vosotros para que conozcáis más mi labor. En el post de blog, vengo a hablar de otro diseñador al que nos es tan fácil acotar, Thierry Mugler.
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Mugler y la inspiración tras la leyenda
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Thierry Mugler lo hizo casi todo, por no decir todo. En su repertorio estético encontramos multitud de referencias. El mundo animal, lo robótico, materiales del mundo del fetichismo, el mundo del cómic y la ciencia ficción, referencias automovilísticas o el particular estilo cow-boy.
El ansia creativa de Thierry Mugler le empujaba a investigar, a probar y desarrollar todo tipo de diseños sin limitarse en crear referencias que fuesen clave para su marca. Se dice que este ímpetu le viene del ballet y el teatro. Ambos artes eran practicados por Mugler y su representación se percibe en la presentación espectacularizada con incorporaciones de escenografía clásica para mostrar diseños esculturizados y con todo lujo de detalles propios de obras teatrales. En la actualidad incluso ha llegado a diseñar para varias obras de teatro y el Cirque Du Soleil.
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Desfile Couture Spring 1997 de Mugler sobre insectos
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Estas son inspiraciones del diseñador para acoger algunas de sus referencias recurrentes y propias, entre las que destacan la ruptura estética y su silueta característica.
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Mugler y la mirada a través del tiempo
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Aunque suene paradójico toda esta diversidad en desfiles y diseños tenía una línea común, la disrupción. La intención de Mugler no era la inspiración en clásicos y convertirse en un repetidor de antiguos patrones propios de la moda cíclica. Mugler era novedoso, le daba la vuelta al diseño hasta conseguir algo nunca visto, mezclaba referencias que sí eran tomadas del pasado y las mezclaba hasta convertirlas en algo nuevo. Miraba al futuro pensando en cómo se vestiría en los años posteriores.
Esto nos lleva a esa segunda referencia icono del estilo Mugler, la silueta. La silueta de femme-fatale. Marcada por hombros anchos, cintura mínima y caderas exageradas. Esta forma se ha visto reflejada en sus diseños a lo largo del tiempo y las referencias.
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¿Su intención? De nuevo la ruptura y el foco en lo que hoy es el presente. En la época de Mugler como diseñador, sus coetáneos se centraban en el power dressing. Esta corriente deriva de la incorporación de la mujer en puestos de poder y el trabajo de oficina. La pretensión estética era inspirarse en el vestuario masculino para aportar ese rasgo poderoso en la ropa de la mujer de su tiempo. Esta línea tenía su máximo apogeo en el traje femenino de dos piezas.
Mugler se aleja de esto. Mira al futuro incierto y se centra en el cuerpo como referencia. En la feminidad de su silueta y en la fuerza que aporta esta. Un aspecto tan actual que es natural que los diseños del propio Thierry sigan siendo hoy día tan representativos. Incluso superando a quienes lo siguieron en la firma Mugler.
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Cardi B luciendo un diseño de Mugler de 1995 en los Grammys 2019
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Mugler y la ruptura más allá del vestuario
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Todo el compendio visual y referencial fue clave para la creación del hito Mugler, sin embargo no fue esta la única causa. El espíritu transgresor de Mugler no tenía límite ni continente por su propia naturaleza, por lo que su apuesta disruptiva no se acota simplemente a la ropa.
El contexto en que se presentan las colecciones es también de suma importancia para Thierry. La teatralidad de sus diseños no pueden limitarse a un escaso recorrido por la pasarela. Su colección para el décimo aniversario tenía por nombre Zénith y fue un espectáculo donde por una entrada similar a la de un teatro, desfilaron 150 de sus modelos. Era propio en sus desfiles que las modelos bailasen, se moviesen con libertad e incluso actuasen.
También participó en la música. El videoclip Too Funky de George Michael muestra algunas de las modelos más características de la época [Linda Evangelista, Nadja Auermann, Tyra Banks, Eva Herzigová, Estelle Hallyday, Rossy de Palma]. En principio el encargado del vestuario del videoclip era desconocido, aunque pronto se descubrió que era Mugler.
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Linda Evangelista vestida de Mugler durante el rodaje del video de ‘Too Funky’ de George Michael en 1992
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Aunque contar con el registro de supermodelos de los 90’s no era suficiente para Mugler. Sus desfiles también daban cabida a modelos no normativos. Mujeres racializadas en los 80’s, maniquís fuera de los cánones impuestos de edad o complexión e incluso coqueteaba con la androginia y modelos masculinos luciendo prendas femeninas.
Thierry Mugler es un diseñador que a la moda le ha dado mucho, por no decir todo.
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