Michel Dumont: “I like to work with drag performers and people who are comfortable with physical performance. For instance, when I was working on ‘Tornado of Love,’ it helped to find people who were able to act out the physical dance [aspect] of my creations. That’s advantageous when presenting wearable art. I’m inspired by the performance artists of the ’80s and those in the [documentary film] Mondo New York performance scene, such as Joey Aria and Klaus Nomi. I have a performance-art aesthetic that’s queer, subversive and [akin to] underground drag.”
Coco Rocha: “Fashion performance can be a powerful form of storytelling that goes beyond just wearing clothes. It’s an expressive art form where garments and movement come together to convey a narrative, evoke emotions and create a memorable experience. I always tell my students at Coco Rocha Model Camp that our goal is to make the viewer feel something. For me, it’s about bringing the fashion piece to life, embodying the designer’s or photographer’s vision and connecting with the audience on a deeper level.”
MD: “Fashion and performance go hand in hand. For example, in the ’80s and ’90s, Thierry Mugler used models of different body types and ages in performance pieces; there was a queer sensibility that added a theatrical element to runways. Indigenous fashion performances have a tradition of spiritual influence. [On fashion runways], an idea is staged; some designers narrate a story and include a dance or use choreography—it’s sort of a powwow aesthetic on the runway, and it’s a beautiful blend of contemporary and traditional [practices]. I’ve used the element of dance to [show] gay pride and have also injected punk disco [into my work].”
CR: “A good fashion performance can break away from the static and repetitive nature of generic fashion shows. That’s why I love a show that brings in a theatrical element, incorporating choreography, props, music and technology—anything to break the monotony and allow for more creativity and experimentation.”
