Eccentric and quirky the designer creator of iconic fashion lines was famous for his super sexy corsets worn by stars such as Madonna, Sharon Stone and Lady Gaga.

The first clothing line, he called it Café de Paris in homage to the city that became his home, 1973, while he launched his actual brand in 1975.

Already we can glimpse what would become its leading “themes”: the overt inspiration from U.S. cinema and culture, the “wasp-like” waist that echoes that of classic pin-ups. The use of a futuristic plastic-like fabric in his sculpted clothes has become his trademark. The designer for decades has defined haute couture, dressing stars such as Diana Ross, Cardi B, Beyonce and more at galas, on red carpets and runways around the world. His most iconic creations appear in the Too Funky music video by British singer-songwriter George Michael.

The Creations

His designs were not afraid to be extravagant, sometimes resembling robotic suits with protruding conical shapes. His creations had a strong impact on the imagery of high fashion: with no fear of coming across as strange or shocking, his creations were inspired by technology, nature, and motors. Iconic were his robotic suits that originated from the famous film Metropolis.

His products

Mugler also had a famous perfume line, which he started in the 1990s.

In addition to clothes, Mugler has also been a filmmaker and photographer, and has been a dancer, acrobat, and avid bodybuilder, emphasizing that he has always wanted to explore the human body as art. One of Mugler’s best-known phrases: “When I was a child, I could not accept the world around me. I dreamed of creating one of my own size, one all to myself“.

Simply brilliant.

L'articolo Farewell to creative genius “Thierry Mugler” proviene da Fashionlife Magazine.

Alessandro Egger Serbian by birth and Milanese by adoption, is one of the most sought-after models on the catwalks and in the Advertising Campaigns of major fashion houses such as Dolce & Gabbana, Versace, and Armani. Independent since he was 17, a faithful and principled boy with many life experiences and a clear goal to be an actor. A ‘special occasion brings us to meet Alexander for an exclusive interview full of surprises.

Alessandro in the fashion world you are a very well-known face, you have worked and work with the biggest fashion houses such as: Armani, D&G, Versace etc., among the figures belonging to this world that you have met who has conveyed the strongest message to you, so much so that you consider him/her a guide or a reference point?
As far as I’m concerned, it’s the people who work inside that give you a lot of excitement, the people you’re closest to and have an intense relationship with, such as it can be: a product manager, a dressmaker or a style office manager. These are the realities that have always inspired me, because every day they deal with hard and careful work, following a sustained pace, without looking at the clock, holidays or adequate compensation, while always giving their best.

“House of Gucci,” the highly anticipated new film by Ridley Scott, will hit theaters at December. You will be part of the cast, great opportunity, would you tell us about it?
Great and highly anticipated part of my life, which I visualized and manifested with even great commitment, then I had actually auditioned for another role but Ridley himself said he liked me and wanted me on another role, unbelievable when I think that this all happened through a self-tape, I have always been used to auditioning in a room with physical people and so double the happiness to have been able to take such a great job remotely. Which means that with commitment today you can do anything. And even with the crucial help of my agency that has been following me since I was not even 14 years old now, it’s been a few Years. Hahah.

Who did you get to know in this context?
I got to know several young and motivated Italian actors, and also to understand the real Hollywood approach. A Hollywood set is like a fairy tale everything is incredibly organized and professional. Then once on the set having had the pleasure of being directed and guided by Ridley Scott is priceless, his humility in taking care of even those who have a small role always made me remember my motto that there is no such thing as a small part, but a small actor, so even the smallest of opportunities among such a star-studded cast should be made great. In front of my trailer was Adam Driver’s, with whom I also had the pleasure of sharing the set. We talked about Brooklyn, the flight ahead two chats and took a souvenir photo. Then I went back to the set and had the second opportunity to have a chat with Ridley and capture it in a shot. There was also Jack Huston who had the makeup station next to mine, a hoot in person, too funny.

“As achild as well as an adult, maybe I was one of the few who didn’t dream, but he already knew what he wanted.”

On several occasions you have expressed a desire and willingness to pursue an acting career, does luck give way to determination? 
Luck exists in unexpected form as a consequence of manifestation and projection. If you visualize and plan to see yourself in a certain place, years or months or maybe days later I would find you there unexpectedly, an unexpected call, a gesture a signal. Luck for me belongs to those who create it. It takes a lot of effort, just look at all the successful people and ask the question, but is he there by luck? The answer is no, everyone has worked in their own way in some way to get to a point. It takes visualizing and being grateful even before it happens. 

So much has changed in the world in general with the rise of covid 19, specifically how has “the fashion world” changed?
The change is evident but fashion I think has been very strong and adaptive, in fact except for a few months, and clearly on public events it has come up with so many digital solutions to keep the wheel turning, from digital fashion shows, digital presentations, digital displays constant caution and control with pads, masks, gels and safe distance. In fact, I think it set the stage for important insights for everything related to the transition to e-commerce, those who had doubts had to reconsider, because it generated solutions for businesses. This clearly cannot replace the human relationship in the store, but at least it can contribute to the performance of a store without having to stop. In short, fashion is very determined but clearly it takes so much more work, so much more knowledge and adaptation. I am convinced that every crisis brings improvements for humanity, as I am also sure that everything will change and continue to change.

As a child, what did you dream of becoming?
As a child as well as an adult, perhaps I was one of the few who did not dream, but already knew what he wanted. I was always the center of attention, because I wanted to, I wanted to entertain, to give smiles, cheerfulness, in short to group and create bonds through games, jokes and imitations. It all started so simply, then with time it all became clear, about the road that would await me, which was the world of show business, which for me was never just TV, but everything, such as: dancing, singing, acting, physicality, etc. Today I realize it has always been a need for me, which is why after so many years I am still in it, growing and improving, because for me what I do is comparable to the air I breathe is vital. 

The fundamental traits of the Italian style?
Italian style is style, for me and for my closet it is essential to have a tailored cut trouser, I have three kinds, dry cigarette, oversize where we play with various fabrics such as velvets, technical fabric and jeans always with a modern cut.
I love Italian fashion, I live it every day and it excites me. Italian tailoring for me is essential and needed, now there has been an important contamination from the urban world, in fact it happens very often to see tailored long coats with the Jordans.
Last I would say, the trait of elegance, Italian style is made by people with their always neat cuts, beards, expressions, smiles, typical and irresistible charm and charisma.

What is the type of perfume you usually love to wear?
I love fragrances that like music and love are part of our lives. I personally love research, I really like frankincense, palo santo, cedar and essential oils, “the unique fragrances.” Then I can use any fragrance when I receive it, I adapt like an actor does to any fragrance, but the ones I prefer are undoubtedly the ones with a “special” story. I really like the holy oil my grandmother used to bring me from the monastery, a pleasant and relaxing scent. 

The downside?
The downside for me is all the work behind the spotlight, the commitment and the sleepless nights spent thinking, mulling and looking for solutions to move forward. Continued perseverance is always put to the test, over the years training brings you to know how to handle it, but still the facade remains that in the results is not noticeable. Actually, consistency is the hardest thing to maintain especially when you are working at a high level, to keep improving yourself to be the best part of you, it is a challenge with yourself.

What are your career goals today?  
This year’s goals I would say are off to a good start, between television and film. To reach them I will put strength and passion, I want to give Italy a unique acting, a role with which I can make girls dream and give inspiration to boys, give love and desire to improve themselves, dream and fight for their dreams. I have with me those who support and back me, a team that loves me.

L'articolo ALEXANDER EGGER<br> In the stellar cast of “House of Gucci” proviene da Fashionlife Magazine.

Today the fashion designer is ready to take on a new challenge at MFW in September, so, we just have to wait, considering that there will be no shortage of surprises.
For Fashion Life, we have the pleasure of meeting with her to better understand her choices and evolutions.

In reference to the A/W 2021/22 collection you made a careful choice, what was your consideration of it?   
A moral problem has arisen for me. If I had been a theatrical actress, I would not have appreciated the theater turning on its lights for a designer and not for me who work there, for fashion productions to come in and for the workers who normally set up shows there to stay home. So I felt that I should first and foremost sympathize with those who, at that time, could not exercise their passion by working in their place.

How was really your digital parade?
Fashion as a mirror of time had to accept the challenge without shying away from what contingency made us experience or prevented. Mine was not a digital fashion show but the storyboard of what it would be. In a theater my clothes would be actors of themselves recalling from the postwar period the different periods and ways of rebirth. It was therefore the 2D of a true narrative, which ‘could be’ because creativity does not stop and which ‘was so’ because we are all in the same boat.

An ‘occasion that offered   much food for thought and the desire to be present again?
It was interesting commenting on it streaming, for me primarily who normally never see it from the front! But just because fashion and art live by immersion and sharing on September 26, we will be back in attendance. I have dedicated this experiment of mine to all creative people like me who have had to change plans to align with the contingency, to all those who do not need to label themselves as artists, because they know how burdensome this condition sometimes is, to the actors, musicians, and directors, to all those who have not been able to practice their craft, to the photographers, to the makeup team with Markus Theisen, and the hair team with Beppe d’Elia, and finally to theater and film, which because of their greatness and truth cannot be encompassed in this moment.

The designer for A/W 2021/22 collaborated with the Società dei Concerti Foundation, thanks to which international music talents coordinated by President Enrica Ciccarelli Mormone have narrated the fashion show (AW 2021/22) with their instruments. As well as with director and film critic Mario Sesti, with Alessandro Turci lecturer and fashion critic, photographer and videomaker Alice Falco who has always been at Francesca’s side. A heartfelt thank you also went to the Fashion Chamber actively engaged in supporting and uniting made-in-Italy designers through the digital fashion show calendar.

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With its deep roots in the fashion world, Giorgio Armani is championing new changes.

The pandemic has challenged every single aspect of our lives. Every leaf that fell, fell from a tree rooted in the ground with deep roots, but on different soil. Because the earth on which we rest our feet, no matter how much some people insist on seeing it always the same, has changed profoundly. Society, ecology, economics, our very lives have been confronted with a momentous change. The beginning of a new Era. The construction of a new world that must lick its wounds but at the same time grow, finding new paths to which
adapt. And fashion is not exempt from this discourse. Indeed, explaining it to us in a tangible way was Giorgio Armani.
King George is that tree rooted with deep roots in the land of fashion. The fashion system represents the branches that knotty, grow anchored to the tree (some strong, some fragile and thin). And finally, the leaves are the ideas and creativity of all those who work around the fashion world. The leaves sprout each year, giving the tree majesty and life. Then the season passes, the leaves fall and settle on the ground. They mix with the earth and nourish the tree, which, in an endless circle of life, will return to blossom as soon as the time is ripe.
Fashion had long since lost sight of this extraordinary circle of life. There were fewer and fewer leaves, the soil was getting sicker and sicker, and inexorably the soil was infecting the tree.

But the Armani tree decided not to be infected anymore. The George tree, anchored for decades in the land of fashion, has decided not to die.
In the midst of the pandemic, his statements were a sigh of relief for all those who were aware that the land of fashion was too sick, and they were a wake-up call for many who had instead failed to realize what the fashion system has become: a hodgepodge of old ideas, a constant birthing of useless clothes and accessories that have destroyed the creativity of artists, designers and visionaries. Fashion production has bulimically fed entire generations, churning out billions of ugly clothes that often could not even find a market. One person has a good idea, and a thousand follow it, copying it in a debasing way. A vicious cycle that affects not only the fashion retail world, but part
from small tailors all the way up to large, world-renowned brands. A designer to fight the competition must fill the stores with clothes at reduced costs by choosing cheap (often polluting) fabrics, and to cut down on tax and production costs must very often hire people off the books, or turn to companies abroad that exploit men, women and children by taking away their dignity. Not to mention the creativity that is totally zeroed out in this way. Starting from this awareness,Giorgio Armani, faced with a change that must compulsorily affect the fashion system as well, broke the levees by shouting his disappointment about what has happened in the fashion world over the past decades.
Denouncing the irresponsibility of companies and designers, he called on them to overhaul this extraordinary artistic, social and economic sector: less production, reducing collections to environmentally sustainable production, more decent work for workers and employees, more creativity for designers and the artistic sector, more fair competition. Better to spend 100€ on a well-made and environmentally friendly garment than to spend the same money on ten polluting garments that debase the creativity of designers. Everyone must do his or her part. Starting with us buyers. We can choose to change the world even when we go shopping. And if we buy Armani, at this point, even better.

“The construction of a new world that has to lick its wounds but at the same time grow, finding new ways to adapt to. And fashion is not exempt from this discourse.”

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