A Miguel Castro Freitas mood board is an immersive experience. To step into his showroom at Mugler headquarters in Paris is to dive into a wall-to-ceiling, U-shaped projection of his mind.
For his sophomore collection, which he dubbed “The Commander,” Freitas explored the house’s legacy of power dressing through the prism of his personal pantheon of muses, ranging from Joan of Arc to Joan Crawford.
It was fun to watch the inspirations bubble up on the runway. The model in the black leather jacket with a diagonal zip, wearing a shrunken trilby hat, was a modern-day take on Catherine Deneuve in “The Hunger.” A pin-striped coat, constructed like a 17th-century court coat, was a twist on Crawford’s social climber suits in “Mildred Pierce.”
Shades of sci-fi classics “Blade Runner” and “Gattaca” echoed through pleated lamé dresses, glossy leather military skirt suits in mismatched colors, and Soviet chic uniforms with shelf-like shoulder pads.
That the collection was unveiled at the Palais de la Porte Dorée was no small irony.
Built for the International Colonial Exhibition of 1931, the Art Deco jewel initially housed a museum dedicated to the French empire. These days, it’s home to the Museum of Immigration History, and stages exhibitions that wrestle with the ramifications of the country’s imperialist past.
Freitas has not shied from engaging with Manfred Thierry Mugler’s own complex legacy. A pioneer who pushed the boundaries of clothing construction by working with materials like latex, metal and feathers, the label’s founder was sometimes accused of fetishizing women — though he always said his mission was to set them free.
Freitas namechecked two collections from the ‘80s in his show notes: Les Secrétaires and Les Militaires. He’s aware that in the current climate, symbols of power are a double-edged sword, but sees personal choice as the end goal.
“The message here is a message of self-empowerment: power dressing and the power of dressing,” he said. “Freedom is the ultimate power to be reclaimed in this day and age.”
Guests at the show included Chappell Roan, who caused a stir by wearing a Mugler dress hung from nipple rings at the Grammys. Freitas, who drew his share of flack by reviving the archival design, felt vindicated by her choice.
“There were still some detractors, but overall, the response was great, because it felt like the intention was finally absorbed, because she carried it with such conviction and pride,” he said. “If that triggered some sort of discussion around it, then I feel like I’ve done my job right.”
