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Thierry Mugler also has a particular affinity for creatures of the night, and that too made him the natural choice to create the costumes for the show. "In clubs you learn how to accentuate your clothes - how to be a fashion hero or glamour goddess," he says. His creations, which contribute a great deal to the show's atmosphere of heightened sexuality, were designed to be provocative and convey a sense of adventurousness. He created clothes that make a statement about the distinct personality of each individual character, in a show that is more character-driven than any previous Cirque du Soleil production.
While some of Mugler's costumes are exuberant and wildly colorful, others are minimalist to the extreme, in striking blacks and whites. He frequently offset the richness and opulence of his designs by executing them in unconventional, unexpected materials such as latex for overcoats and metals for undergarments - which he selected not only for their look, but for the sounds they make. The use of fur, feathers, lace, fishnet stockings, velvet dresses, super-fine wasp-waist corsets, cone bras, and plastic accessories come together an aesthetic effect and a look that is provocative, eccentric, and pure Zumanity. Stephano Canulli, Eleni Uranis, Francine Desrosiers, and Guy Brassard worked as assistants to Mugler. "The costumes were all made at Cirque du Soleil's ateliers in Montreal," explains Jack Ricks, head of wardrobe for Zumanity. "We had very detailed sketches and worked very closely with Thierry to recreate his exact designs to fabric." In fact, they scoured the world for the best possible materials, from silk and lace in Paris to gloves in Portugal. "There is a real sense of luxury to the show," says Ricks. "There is no full nudity but many of the women are topless." One of the more flamboyant characters is Jacobo, described as an androgynous spirit of sensuality. "He is a cross between a man and a woman, and wears everything from an enormous black silk cape to a large stole of black and purple roses (made of velvet and nylon), and a Greek-style wig of molded silicon. "He is a character of temptation who appears with a live snake and wears silver nipple covers," adds Ricks.
Unusual and unexpected materials such as latex (for some dresses and overcoats) and metal (for some undergarments) give nuance to the richness of the designs. These materials were chosen not only for their appearance but also for the sounds they make. For example: The fur on the lower leg of the Fawn's pants is made from a combination of toothbrush bristles, human hair, and yak fur. The pattern on the chest of the character named Moliner, who wears a long velvet dress, was made using a stencil and a net onto which black silicon was applied. And clearly evocative of fetishism, Jonel's costume is made of stretchy vinyl, while her whip is made of leather and, reminiscent of a cartoon character, her bright red hair is made of expanded foam. The effect of nudity is achieved through airbrushing. Other artists wear prosthetic body parts, including brow pieces, chins, ears, even colored contact lenses, to enhance their appearance. A former Miss France, for instance, performs a bondage ballet on a swing with black fabric encircled her wrists and ankles. "She is a gorgeous person whose form has been enhanced with corsets, prosthetics, and flesh-colored fabrics" Ricks notes. "She looks nude under the lights. With a wig of flowing red hair and a lace mask she is a fantasy figure come to life." The Rose Boy wears a white leather jacket lined in fur, then embroidered and hand-painted with roses, the theme of his performance number. He also wears break-away blue jeans and a jeweled g-string. Other characters are bedecked in everything from seductive layers of lingerie to two huge feathered headpieces that were made by Chris Mark in New York City (in one of the first times Cirque du Soleil has gone outside its own shops for specialty items).
"There is great detail in all of the costumes," says Ricks. "In executing Thierry's costumes, we realized his dreams for the show." The costumes add to the overall fantasy world created in Zumanity, a new avenue of exploration for Cirque du Soleil. All in all there are more than 5,500 costume pieces worth an estimated $6 million. And they up make the most provocative characters...
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