Living between London and Paris moved David Koma to engage elements of both local cultures for pre-fall, resulting in a collection that was “punk but chic,” said Virginie Courtin-Clarins, Mugler’s marketing and communications director, who presented the lineup in New York in Koma’s absence. (Courtin-Clarins is the granddaughter of Clarins founder Jacques Courtin-Clarins. Groupe Clarins owns Mugler.)

 

The chic outweighed the punk, which was probably for the best, but Koma’s fusion of once-radical motifs — hardware; kilts — and Mugler’s sleek, anatomical signatures was complimentary and cool. The starting point was a 1994 leather dress from the Mugler archives which Koma reworked. Taut and short with a high neck, long sleeves and seams that traced womanly curves, the black leather dress was decorated with silver hardware such as ring piercings over the nipples and boomerang-shaped slivers on the sleeves. Hurt so good, indeed.

 

Courtin-Clarins noted that this collection was a big push for daywear, even though the label’s signature “wow” pieces were well-tended to with daring jersey gowns and the aforementioned sharp leather piece. Knitwear was a big focus, and, or the first time, Mugler introduced denim with jean jackets and jeans with M-shaped back pockets and a T with a single strategically placed piercing detail. “It’s like a nipple piercing but much less painful,” Courtin-Clarins said. The handbag range, introduced for spring, expanded with two new styles —  a smart expansion, as there are plans for Mugler’s first store to open in Paris by the end of the year.

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