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Yes, the chiffon frock was suspended from two nipple piercings. Except that, upon closer inspection, these appeared to be prosthetics applied onto Roan’s chest, and understandably so. The dress is a contemporary recreation by Castro Freitas of a haute couture set that the late Manfred Thierry Mugler showed on the runway for his eponymous label back in 1998. On that runway, the silk slip was suspended from the models’ very real nipple rings. It is a classic Mugler piece that made a splash back then, which it did once more tonight.
Interestingly enough, last year, when Castro Freitas showed another iteration of the gown on his debut runway show for the label, the dress caused much backlash online and from critics.
The New York Times referred to it as “out of touch,” and much of the internet labeled the design as misogynistic, without knowing, perhaps, that it was a recreation from a Mugler original. The reissue detail was mostly inconsequential. The dress did look out of place in today’s sartorial context as a remnant of a va-va-voom era of fashion that has, for better or for worse, expired. Today, in the era post #MeToo and at a time when fashion on the runway has become less about gimmick, statement, or scandal and increasingly more about wearability and commerciality, a style like that, presented by a male designer, came across as dated at best and mostly male gaze-y. It was, above all, a great example of what fashion’s obsession with nostalgia has done to it as a cultural instrument—our collective obsession as an industry for romancing and recreating the past has meant that designers don’t always speak to the future.
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José Criales-Unzueta
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