“Thy Wyld” in Friedrichstadt Palast: When Girls Lady Gaga glitter / Fashion News

“The Wyld” in Berlin’s Friedrichstadt Palast is a superlative show – which is, however, completely pointlessly. Directed by fashion designer Manfred Thierry Mugler.

Berlin-Fashion-Show-14

“The Wyld” in Berlin’s Friedrichstadt Palast is a superlative show – which is, however, completely pointlessly. Directed by fashion designer Manfred Thierry Mugler.

A BMX rider is in love with a shy girl who lives high up in the Berlin TV tower – and more attracted to aliens than to feel human. But then succeeds a famous Berliner, to mediate between the two: Nefertiti. She turns out to be ancient queen of the aliens landing in Berlin. The enormous energy of the city has attracted them from space.

That sounds crazy, but either way similar to the Berlin Friedrichstadt Palace took his show in preliminary reports together. Even crazier is that one of them understands almost nothing in the show itself. There is no dialogue, there is no action, and nothing makes sense.
Well, the Berlin taxi driver will say this is at the adult stage but not otherwise, and the Friedrichspalast see the artist better.

Not only the artists and the program booklet. It shines and glistens, and the paper feels like plastic, which is of course very well with the aesthetic concept of the show and the marketing concept, anyway. Everything is applied somewhat thickly. The 10.6 million euro production costs, the highest in the history of the house should also be replayed. Two years to ensure a pilgrimage in the show to the masses.

Berlin Fashion Show:When the young people were still future-love

The Wyld

It is easy to make fun of this show. And it is unappealing because it is snobbish and smug, cocky and arrogant. On the other hand: Well we were there once, here we go.

“The Wyld” hot the show, Wyld with Y as Why. And that’s what floats two and a half hours on the show: a big Why. A question mark.

Directed by Thierry Mugler, 65, mechanical engineer among the fashion designers who drew the blueprints for the robot body eighties: narrow waists and broad shoulders, dressed in a lot of paint and lots of leather, to details like metallic bras. Meanwhile, he called Manfred Thierry Mugler.

The future, however, he seems to be getting ever so present as in the eighties, when many more young people than today forward in love, in faith fortschrittsoptimistisch and technology, as many more young people dreamed that in the future everything will be faster, flash, bigger. Not sustainable and closer to nature.

A young man rolls with a BMX bike on the stage, jumping around on the rear tires, hops onto the front tire around, balancing a little over the handlebars and saddle, have as many guys have done it before him, to the small-town Buswenden this republic , at the time. Irritating is that he has set no baseball cap backwards on his head.

But we remain fair: At the small-town Buswenden there were no girls in hot pants, dancing around the BMX guys. That already makes her something. Boxenluder for cyclists. And sustainable idea is also, somehow. Just as the light and laser show what makes her, really.

The Friedrichstadt Palast claims to reflect that Berlin-sensation of the 21st century, but he only warms the futurism of the eighties on. This is not modern and not at all futuristic. It is nostalgic. “The Wyld” is a retro show.

The name alone. Let us suppose that Y times away, which of course stands for the classic Mugler silhouette, then remains as the name of this Berlin show: “The Wild”, the wilderness, the urban jungle. This is absurd – especially when then swaggers through this urban jungle, a bird of paradise: a man with plumes on the helmet. So you have imagined in small towns times the metropolis, back in the eighties. As exotic and crazy. With y.

Through huge lava lamps swim two ladies

The Wyld

There is a showpiece with poodles, circumcised as boxwood, jumping through hoops. And there is a showpiece with ladies who rise in tires. Well trained, pardon: they are trained. In brief lingerie clad, they can be pulled under the roof with the tire and contort there on’s most beautiful. They are followed by a lady with white fur stole (hopefully not a poodle), a champagne glass in hand, and looks somehow bargain sophisticated, so Twenties-wise. To her, a punk girl, a Turkish woman with hookah and a bag bepacktes luxury girl with blonde hair bow smooth join. The song: “I am a Berliner”. Already a melting pot, as a metropolis.

You have to imagine an evening in the Friedrichstadt Palace as a concert of Lady Gaga, just without Lady Gaga. For with spectators, which exactly like; they clap at the end rhythmically. Yes, you have to imagine this.

Where it is not so that there is no reason to clap, which again not now: The air acrobatic show of the duo Markov’s great. Really. Full irony-free. These five minutes are sensational. And it is not even the only five minutes. There is a bombastic image, boots up for a double-decker rotary and lift off the ground – and the space provides for two giant lava lamps. Through these lamps wabert no gel, swim through these lamps two ladies in silver swimsuits. It is an idea with wow factor. Madness, that there is no interior designer has yet come of it.

The largest part of the show but is not extraterrestrial, he is underground. This includes the so-called Girl series is legendary, and the Berlin boulevard with numbers this enthusiastic as:

The total leg length of 32 ladies of the chorus line, ie the sum of the length of all 64 legs, is 67.2 meters. It is a value, so sober and technologically deterministic as from the numbers-data-facts-leaf of a plant. And exactly as they would be the machine in a factory, the chorus line also moves across the stage. In lockstep. Perfect. Without apparent effort: no sweating, no blush, no tremor.

The human body as a machine – and this was such a vision of the eighties.

Seychelles

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