Aug 12, 2026 · 1 hr 3 min · 13 segments
Today, we're doing things differently; we're dissecting the Mugler FW26 fashion show. If you know me then you'll know I love a deep dive, and in a world where everything can be criticised or vilified…
Charisse KenionHost
Anthony TurnerGuest
Karine WesterlundGuest
Teo TeardoGuest
As I read through the show notes, I'm gonna share some images that Miguel posted on his Instagram, which should explain some of the references mentioned.
"Here, power is explored not as force or pure glamour, but as the intention and allure that shape identity and desire, both past and present.
In dialogue with the radical vision of Manfred Thierry Mugler, the collection revisits the creator's seminal explorations of authority and control, most notably in Les Secrétaires, the autumn/winter '82 collection, and Hiver Militaire, the autumn/winter '86 collection.
More than 40 years later, these ideas are reconsidered through Castro Freitas' contemporary lens, acknowledging their lasting appeal while reflecting on how the aesthetics of power evolve with time.
Ultimately, this show intends to acknowledge that self-empowerment is the most potent antidote of clarity to the oppressive forces and gray political climate that surrounds us at this very moment," said Castro Freitas.
"And most of all, it's a manifesto of the highest power that we should never forget to reclaim freedom." I am really glad that Miguel is one of the few designers that acknowledge the state of the world right now.
I think sometimes fashion seems to think it can exist in a vacuum, and Miguel is acknowledging how he recognizes the oppression that surrounds so many of us.
I feel like acknowledging this also allows us to read more into his use of color and the powerful silhouettes as a form of protest.
The potent impact of art deco geometry is reimagined with the logic of 1980s corporate power wear, amplified and centralized." This line really takes me back to one of my favorite buildings of all time and a key example of art deco geometry, the Chrysler Building.
Um, I've always loved it, and I'll show you evidence of this inspiration as we go through the looks.
But to sum up art deco, it was a highly stylized and decorative way of looking at architecture, interiors, furniture, jewelry.
It was about making every single building, every single item, even a hair comb, look its most beautiful.
The movement began around 1910, 1912, and ended at the beginning of World War II in 1939.
The show notes continue, "Echoes of 1940s glamour and authority resurface with Castro Freitas' signature shoulders, cinched waists, and expressive curves, serving both as inspiration and as a reminder of the tensions embedded in visual codes of leadership.
Garments traditionally associated with more functional power, workwear, ceremonial dress, are transformed into statements of self-possession and intent." Again, I'll show you these themes as we make our way through the looks.
Several of the looks could have been worn by Hollywood actresses back in the day.
Power is understood here as the ability to navigate attraction, release, and exchange.
Throughout the collection, early 20th century constructivism, also known as Russian constructivism, an art form founded in 1915 by Vladimir Tatlin and Alexander Rodchenko.
As I read through the show notes, I'm gonna share some images that Miguel posted on his Instagram, which should explain some of the references mentioned.
"Here, power is explored not as force or pure glamour, but as the intention and allure that shape identity and desire, both past and present.
In dialogue with the radical vision of Manfred Thierry Mugler, the collection revisits the creator's seminal explorations of authority and control, most notably in Les Secrétaires, the autumn/winter '82 collection, and Hiver Militaire, the autumn/winter '86 collection.
More than 40 years later, these ideas are reconsidered through Castro Freitas' contemporary lens, acknowledging their lasting appeal while reflecting on how the aesthetics of power evolve with time.
Ultimately, this show intends to acknowledge that self-empowerment is the most potent antidote of clarity to the oppressive forces and gray political climate that surrounds us at this very moment," said Castro Freitas.
"And most of all, it's a manifesto of the highest power that we should never forget to reclaim freedom." I am really glad that Miguel is one of the few designers that acknowledge the state of the world right now.
I think sometimes fashion seems to think it can exist in a vacuum, and Miguel is acknowledging how he recognizes the oppression that surrounds so many of us.
I feel like acknowledging this also allows us to read more into his use of color and the powerful silhouettes as a form of protest.
The potent impact of art deco geometry is reimagined with the logic of 1980s corporate power wear, amplified and centralized." This line really takes me back to one of my favorite buildings of all time and a key example of art deco geometry, the Chrysler Building.
Um, I've always loved it, and I'll show you evidence of this inspiration as we go through the looks.
But to sum up art deco, it was a highly stylized and decorative way of looking at architecture, interiors, furniture, jewelry.
It was about making every single building, every single item, even a hair comb, look its most beautiful.
The movement began around 1910, 1912, and ended at the beginning of World War II in 1939.
The show notes continue, "Echoes of 1940s glamour and authority resurface with Castro Freitas' signature shoulders, cinched waists, and expressive curves, serving both as inspiration and as a reminder of the tensions embedded in visual codes of leadership.
Garments traditionally associated with more functional power, workwear, ceremonial dress, are transformed into statements of self-possession and intent." Again, I'll show you these themes as we make our way through the looks.
Several of the looks could have been worn by Hollywood actresses back in the day.
Power is understood here as the ability to navigate attraction, release, and exchange.
Throughout the collection, early 20th century constructivism, also known as Russian constructivism, an art form founded in 1915 by Vladimir Tatlin and Alexander Rodchenko.
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