Michael Jackson's longtime costumer unveils book

Zitat von badwoman

Michael Jackson's longtime costumer unveils book

"Sometimes I'd drive three hours to retrieve loose rhinestones straight from the factory, just because looking at them in that raw form pleased Michael to no end. Every time I opened the swatch of white felt that encased the rhinestones, he'd gasp," he writes. "He'd take them from me and delicately move them around with his fingertips and whisper... 'Can you imagine being a pirate opening a treasure chest? And seeing all the glitter inside? What a fascinating life, to be a pirate like that.'"

http://www.cbsnews.com/8301-50…me-costumer-unveils-book/

Alles anzeigen

*hihi* ich hab dasselbe gemacht - nur war ich da ca. 5 jahre alt und "mein schatz" war die knöpfe-schachtel meiner oma...
ich freu mich schon total auf das buch!!!

Michael Jackson's longtime costumer unveils book

Published: July 31, 2012 9:43 AM

LOS ANGELES - (AP) -- The zipper-covered "Beat it" jacket. The military-inspired coats with their epaulets, crests and insignias. And, of course, that glittery glove.

Michael Jackson's fashion sense was as singular as his musical style and dance moves. Millions imitated his pegged pants and penny loafers, a fedora cocked just so.

Jackson's longtime costumer reveals the secrets behind the King of Pop's meticulously crafted, regal rock-star look -- and an intimate glimpse into The Man himself -- in a colorful new book, "The King of Style: Dressing Michael Jackson."

"When you worked with him, you couldn't wait to get there and you didn't want to leave when you got done," said author/costume designer Michael Bush, who with his late partner, Dennis Tompkins, dressed Jackson for more than a generation. "It was hard to imagine anyone that projected fashion and style any better."

"Wenn du mit ihm gearbeitet hast, konntest du nicht abwarten, dorthinzu kommen, und wenn du fertig warst, wolltest du nicht gehen." 2Es war schwer sich irgendwen vorzustellen, der mode und Style besser projiziert hätte."

What most people don't know about Jackson, Bush said, is he was a joker -- a playful prankster who loved to laugh and often teased those closest to him the most.

Bush tells of meeting Jackson for the first time in 1983, when both men were 25. The King of Pop hadn't retained a costumer yet, and Bush was up for consideration. Jackson had been holed up for hours in his trailer on the set of "Captain EO." Bush could hear a monkey squealing as he approached. It was dark inside and "like 120 degrees." Jackson was snacking.

Bush traf Jackson zum ersten mal 1983, als beide 25 waren. Der KOP hatte bis dahin noch keinen Kostümdesigner, und Bush kam, um begutachtet zu werden. jackson hatte sich stundenlang am set von Kaptain EO in seinem trailer versteckt. bush hörte affen Geschrei, als er sich näherte. Im trailer war es dunkel und ungefähr 120 grad.

Eager to please as he prepped the pop star's clothes, Bush felt something hit him gently in the head. A cherry stem. A few seconds later, it happened again. When it happened a third time, Bush lobbed a cherry at the rising superstar. Jackson tossed a handful back, and thus began a close professional and personal relationship that spanned the remainder of Jackson's life.

Bemüht, zu gefallen, als er die kleidung des stars vorbereitete, fühlte Bush, dass ihn etwas sachte am Kopf traf. ein kirschstiel. Wenige sekunden später passierte es wieder. Und noch ein drittes mal. bush warf eine kirsche auf den kommenden superstar. jackson warf eine handvoll zurrück, und so begann ein enges berufliches und persönliches verhältnis, dass den rest von jacksons leben andauerte.

"I think he wanted someone he could play with. He just wanted to see, 'Am I going to have fun with this person?'" said Bush, now 54, an almost sheepish, informally trained clothier from Ohio who learned his craft from his mom and grandmother, who made wedding gowns, prom dresses and quilts.

"And I laughed every day until he died."

"Ich denke, er wollte jemand, mit dem er spielen konnte. erollte einfach testen:Kann ich mit dieser Person spass haben?2
"Und ich lachte jeden tag, bis er starb."

Bush wouldn't discuss the time Jackson wore pajama bottoms to court during his child-molestation trial in 2005, but relished in other details of the entertainer's unique approach to his performance attire.

Bush möchte nicht über den tag reden, an dem Jacksen bei gericht während dem Prozess von 2005 Pyjamahosen trug, aber er gibt andere details bekannt, über die einmalige herangehensweise an seine Bekleidung für seine Performance.

"Michael's concept was, 'I want the fashion designers in the world, the big conglomerates, I want them to copy me. I don't want to wear what's out there. I want to push my individuality, and being that my music is me, my look should be me,'" Bush said in an interview at a warehouse in Los Angeles, racks of glittery history behind him.

"Michaels Konzept war: "Ich möchte dass die Modedesigner der welt, die großen konglomerate, ich möchte, dass SIE mich kopieren. Ich möchte nicht das tragen, was es da draussen gibt. Ich möchte meine Individualität hervorheben, und das sein, was meine Musik ist, mein look sollte mich repräsentieren."

Jackson's stage costumes were designed to display his dance moves, so Bush and Tompkins, who died last December, were treated to regular private dance recitals to inform their work. Jackson danced five or six hours a day whether he was on tour or not, Bush said: "He traveled with a hardwood floor in a road case."

Jacksons Bühnenkostüme wurden designt, um seine Tanzbewegungen hervorzuhben, deshalb sahen sich bush und Tompkins oft private Tanzvorführungen an, zur unterstützung ihrer arbeit. Jackson tanzte 5 - 6 Stunden täglich, egal ob auf toer oder nicht. "Er reiste mit einem Holztanzboden in einem Koffer."

All that dancing, such as during the 1987 "Bad" world tour, meant Jackson could drop so much weight during a concert that the costumes for his closing numbers had to be smaller than the ones for the show openers.

Das ganze Tanzen bedeutete, so wie während der Bad tour, dass Jackson während einem Konzert soviel gewicht verlieren konnte, dass die Kostüme für seine Schluss-nummern kleiner sein mussten, als die für die Eröffnungs Nummern.

"Michael was usually a 28-inch waist, but by the midpoint of the show, when he was ready to perform his magic act of choice, right before 'Beat It,' he'd already lost five pounds of water, and his waist dropped to 27 and a quarter," Bush writes in "The King of Style." ''If we didn't have clothes hanging on the rack in the right order that were getting progressively smaller, we'd risk him putting on a pair of pants that would fall to his ankles with each rhythmic move of his body And there is no magic in that!"

"Michael hatte normalerweise eine weite von Gr. 28, aber in der Mitte der show, wenn er seine Magische Kunst zeigen würde, kurz vor Beat it, hatte er schon 5 Pfund verloren, und seine Grösse war 27,(und ein Viertel). Wenn wir nicht die Kleidung in der richtigen reihenfolge am Ständer hängen hatten, sodass sie immer kleiner wurde, riskierten wir, dass er ein paar Hosen anzog, die ihm runterrutschen würden, bei den rythmischen Bewegungen seines Körpers, und das wäre garnicht magisch."

The King of Pop preferred China silk, silk charmeuse and stretchy fabrics. "Spandex made Michael feel sleek and secure and worked for his dance style," Bush writes.

Then there were the military jackets, the rhinestone-encrusted interpretations of British war uniforms like the one Jackson wore at the 1984 Grammy Awards, when he raked in a record eight awards for "Thriller."

Jackson had a childlike fascination with rhinestones, Bush said.

Jackson hatte eine kindliche begeisterung für Strasssteine

"Sometimes I'd drive three hours to retrieve loose rhinestones straight from the factory, just because looking at them in that raw form pleased Michael to no end. Every time I opened the swatch of white felt that encased the rhinestones, he'd gasp," he writes. "He'd take them from me and delicately move them around with his fingertips and whisper... 'Can you imagine being a pirate opening a treasure chest? And seeing all the glitter inside? What a fascinating life, to be a pirate like that.'"

Manchmal fuhr ich drei stunden, um lose steine direkt von der fabrik zuholen, nur weil es Michael unendlich freute, sich diese Steine in ihrer rohen Form anzusehen. jedesmal, wenn ich das weiße filz öffnete, wo die steine drinn waren, verschlug es ihm den Atem. Er nahm sie und bewegte sie mit seinen fingerspitzen umher und flüsterte: "Kannst du dir vorstellen, ein Pirat zu sein und eine Schatzkiste zu öffnen? Und all dass Glitzern im innern zu sehen? wie faszinierend, auf die Art ein Pirat zu sein."

Bush and Tompkins worked with Jackson until the pop star's death in June 2009. Though they weren't in charge of the costumes for the ill-fated "This is it" comeback tour, Jackson's longtime costume designers created ensembles for seven songs, including a reprise of his "Billie Jean" outfit with its loafers and spangled socks. There was also a burgundy and gold monogrammed top with a Chinese collar and bell sleeves, and a pair of black bedazzled shin guards.

Bush declined to share any details about Jackson's health or demeanor in his final days. He did say, though, that the King of Pop had always hoped his costumes would be celebrated in books and museums, and Bush is humbled by making that dream a reality. The costumer will exhibit some of Jackson's performance outfits in South America, Europe and Asia before releasing his book on Oct. 30. Many of the costumes will be sold at auction in December, with a portion of the proceeds benefiting the Recording Academy's MusiCares charity
http://www.newsday.com/entertainment/mic…-book-1.3872272

Michael Bush spricht über Michaels Bühnenkostüme

http://www.bbc.co.uk/news/entertainment-arts-19164326

Zitat

riskierten wir, dass er ein paar Hosen anzog, die ihm runterrutschen würden, bei den rythmischen Bewegungen seines Körpers, und das wäre garnicht magisch

Och.....

Zitat von danceoflife

Michael Bush spricht über Michaels Bühnenkostüme

http://www.bbc.co.uk/news/entertainment-arts-19164326

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Zitat von Lucky

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geht ohne Probleme

..:ja..bei mir auch..:grübel

:top..neues IV mit Michael Bush..haaach ich freu mich auf das Buch

http://www.ifashion.co.za/index.php?opti…d=78&Itemid=114

Meet Michael Bush, the genius behind Michael Jackson`s iconic costumes.

Michael Bush may not be a well-known name to many, but his creations have made pop culture history. As Michael Jackson’s long-time and trusted fashion designer, his work is iconic. In this iFashion exclusive, the designer and author of King of Style: Dressing Michael Jackson, shares his career highs as The Man behind the costumes of the world's most popular entertainer.

What inspired King of Style: Dressing Michael Jackson?
The inspiration came from Michael. He was a perfectionist, and his clothes had to be entertaining, either hanging on the hanger or when he wore them. Detail was everything to him, and his clothes had to be designed so even The Man in the last row at a concert venue could see them. Wherever he went he visited children’s hospitals and museums. His ideas would sometimes come from these visits where he stood back and just looked at a portrait or an individual. No matter what, he had his “look” down and always saw perfection as the key element. That was inspiration to us always.

How long did it take you to complete the book?
The book actually started way back when we designed a fifth coat for Michael Jackson. He phoned to tell me that he had given that coat away, and wanted another one for himself. At that point, we realised that we needed to document every creation because he often gave them away. He was generous to a fault. From that moment, I started taking photos of all the clothes. One day Michael saw all the slides I had put together and said, “Gosh, Bush, you should do a book.” We started going back and forth with ideas, but concerts, tours and appearances always took a front seat and delayed the book. We never had the time to do it while he was alive because we were constantly designing, but the book was an idea Dennis Tompkins, Michael Jackson and I had discussed. After his passing, it was my duty to see it through.

How would you describe Michael Jackson's style off-stage?
Casual, oversized, and he loved corduroy. He was extremely affected by weather elements and corduroy often kept him warm. He liked things that flowed and were comfortable.

Did he have a favourite item?
Obviously, his crystal covered glove because it took on a life of its own. It’s iconic. It’s a Michael Jackson showpiece. No matter where you see it you know it’s about him.

Of all the pieces that you created, which is your favourite and why?
The anti-gravity board for sure. We were challenged like never before, and had to be architects and fashion designers in creating the patented board, which would later serve as Michael’s stage piece that allowed him to lean at that 45-degree angle and mesmerise his audiences. It was definitely one of the highlights for us.

In total, how many pieces did you create for Michael Jackson?
Thousands and Thousands!

How did you become his costumer?
I was first Michael’s dresser, and then got closer to him during the Bad tour, and convinced him that we could design for him. We designed a pair of pants that didn’t bind, which fit at the waist and moved with him at that time. We got very close with Michael then and that is how we really started our long collaboration. In the business of Hollywood there is a pecking order. There is the fashion designer, the costumer/stylist and then the dresser. The dresser puts the costume on the actual body, the stylist goes and gets things together for photographers, shoots, etc., and the costume designers design.

How did you make your way into the clothing industry?
I consider it a gift like most artists do. I had someone like Dennis Tompkins and Michael Jackson who were able to get that talent out of me and allow me to do what I loved.

What was your design brief when you created pieces for Michael Jackson?
Everything was a show and Michael was the ultimate showman. The only design aesthetic you had to apply was “fascinating”. He had to fascinate when he appeared no matter where it was, and he had to entertain. We would look to fascinate while also creating movable pieces of fashion that worked with Michael’s body, style and celebrity.

Was there a specific style that he favoured most?
As long as his clothes were entertaining when he walked out then his costumes were done to his expectations. His style is iconic, which you can see in the clothing he wore both professionally and personally. He loved embellishments as these gave him great stage presence. Michael liked fun and wonderment, style and movement along with colour.

Was there a piece that Michael Jackson didn’t like but ended up wearing?
We designed a leather jacket with European Car Club patches on it and it had no zipper. He hated it when he first saw it, but once he put it on he liked it more and more. He wore it to the American Film Institute ceremony with Elizabeth Taylor, and it became one of the most photographed jackets in his career when Sony Music used and put it out everywhere.

What’s become of the costumes?
Michael was extremely generous and gave many of them away. A lot of them also went to the Estate and his children. He loved to see the “twinkle in someone’s eyes” when he gave them something of his. He took such great enjoyment out of that. He always said: “eyes are the window into someone’s soul”. He also gave many of the costumes back to us and told us that they were ours and we needed to keep them. I started saving everything because I knew he wanted to do a book eventually.

What’s next for you?
I get to see how Michael Jackson saw the world. I get to see the “twinkle in the eyes” of his fans, and how they looked at Michael. Before, we were always in the back working which was fine, but now I see what inspired him so much... his fans. I go to exhibits and signings, and I get to see all of this, it is an amazing part of my journey. I am enjoying and understanding what I was able to do for the past 25 years.

Although many try to emulate the King of Pop, none have been able to achieve what he has, but can you name two artists whose style reminds you of his?
I don’t think anyone really can be compared. The difference is that Michael’s costumes were made for dancing, major movements and changes. Many of the costumes you see today on artists aren’t used that way. They are worn on stage but not made to move as dramatically as ours had to be. Lady Gaga has her own sense of style that is quite elaborate but she doesn’t move like Michael did. Beyoncé wears designer clothing on the red carpet that people can also go out and buy. She always looks stunning. Michael Jackson’s costumes though were part of an era that will likely never be duplicated. He was the ultimate visual artist and his clothing had to be the same. His level of clothing always had to have a certain level of wonderment. And it all had to work together.

http://www.dtoday.de/startseit…Jackson-_arid,197069.html

Buchrezension:

Michael Bush: The King of Style. Dressing Michael Jackson

Michael Bush war 25 Jahre der persönliche Designer von Michael Jackson. In "The King Style. Dressing Michael Jackson" gewährt er Einblicke in seine Arbeit mit dem King of Pop.

Michael Bush: The King of Style. Dressing Michael Jackson

„Michael Jackson´s Image was as much a work of arts as The Man himself. Through his music, dance, and fashion, he createtd a mystique that was unique to him and recognized as such throughout the world.“

Nicht nur Michael Jacksons Musik und Tanz waren einmalig, auch sein Kleidungsstil bestach durch seine Einzigartigkeit. Dabei brillierte sein Outfit nicht nur durch seine auffallende Optik, sondern war vor allem von Detailverliebtheit geprägt. Bevorzugt waren vor allem Materialien, die glitzerten und funkelten - egal ob es sich dabei um Jacken im Militärlook, seinen berühmten Glitzhandschuh oder andere Bühnenoutfits handelte. Hinter all dieser kreativen Kleidung steckte Michael Jacksons persönlicher Designer Michael Bush, der 25 Jahre lang (zusammen mit dem vor einem Jahr verstorbenen Dennis Tompkins) seine Kostüme entwarf. Er war sowohl auf seinen Konzerten als auch bei öffentlichen Auftritten sein ständiger Begleiter, um den King of Pop modisch zu beraten und dessen spezielle Vorstellungen in die Tat umzusetzen.

In dem nun veröffentlichten Buch „The King Style. Dressing Michael Jackson“ gewährt Michael Bush Einblicke in die Kostümwelt des Michael Jackson. Dabei zeigt er nicht nur einen Großteil von Jacksons bekanntesten Outfits (die bei einigen Fans so manche Erinnerungen ins Gedächtnis rufen werden), sondern erzählt auch kleine Geschichten, die hinter der Entstehung stecken. So rief Jackson eines späten Abends Bush an und fragte ihn, was alle Menschen auf der Welt kennen würden. Anschließend legte er auf und überließ Bush seiner Inspiration. Nach weiteren ähnlichen Telefonaten kam Bush darauf, das wohl jeder Mensch Besteck kennt und braucht. So entstand eine Jacke, die duzende kleine Messer, Gabeln und Löffel zierte und zu einer der beliebtesten Jacken von Michael Jackson wurde.

The Dinner Jacket
© Tompkins/Bush archives

Auf 256 Seiten und anhand von etlichen Fotos zeigt der Bildband die Kostüme, die Jackson zu verschiedenen Anlässen trug. Dabei werden viele Detailaufnahmen veröffentlicht, die die Feinheiten der Kleidung zum Vorschein bringt. So bestand Jacksons „all-time favourite piece“, eine weiße Militär-Jacke, welche er 1993 bei den Grammy Awards, wo er zusammen mit seiner Schwester Janet auftrat, trug, aus hunderten cremefarbenen Glasperlen.

Verschiedene Skizzen, Zeichnungen und Entwürfe zeigen die Arbeitsschritte, die getätigt werden mussten, um die Kleidung herzustellen. Ja sogar eine 7-Schritte-Anleitung, zum nähen des berühmten Glitzerhandschuhs ist in dem Buch enthalten. Zudem sind Bilder veröffentlicht, die Bush und Tompkins bei ihrer Arbeit zeigen, ob sie beim Videodreh seine Kleidung perfekt anpassten oder am Nähtisch seine Schuhe zusammenschusterten.

Michael und Janet Jackson 1993 bei den Grammy Awards
© SCOTT FLYNN / AFP FILES / AFP

Die kleinen Geschichten hinter den Entstehungen der Outfits sind in einer so sympathischen Art und Weise geschrieben, dass man sich als Leser oft das Schmunzeln nicht verkneifen kann. Dabei zeigt Bush nicht nur den Musiker Michael Jackson, sondern lässt auch ein Blick auf seine Private, aber auch kreative Seite zu.

Das Buch selbst in von der Aufmachung her schon ein Augenschmaus. Streicht man über das Umschlagcover, merkt man, dass Schrift und Jacke sich leicht vom Hintergrund abheben. Nimmt man den losen Schutzumschlag ab, so sind lauter kleine Nähutensilien, (die sich ebenfalls leicht vom Hintergrund abheben) die allesamt etwas mit Michael-Jacksons Style zu tun haben abgebildet.

Trotz seiner 30 bis 35 Euro (je nachdem, wo man das Bildband bestellt) ist das Buch eine absolut lohnenswerte Anschaffung. Und zwar nicht nur für Michael Jackson Fans, sondern auch für all diejenigen, die sich für Mode interessieren.

.........

...wer sich für das Buch interessiert...:hier...hie 31,95€ :top..versandkostenfrei...:jump

http://www.buecher.de/shop/mus…/detail/prod_id/35345829/

... habe im forever/Internet ein paar Ausschnitte aus dem Buch gefunden und stelle sie mal einfach ein:

(page 148-149)
*FROM OUT OF THE PARK TO OUTER SPACE*

The costume most talked about and fawned over by fans all over the world was the chrome outfit Michael wore to open the show on the HIStory Tour. The concert began with a short film depicting Michael voyaging through space and time in a space pod, sweeping over panoramic views of the Seven Wonders of the World and through notable moments in history, ultimately landing him in 1996, where Michael emerged from his time machine to the sounds of screaming fans. Michael wanted to appear futuristic but was opposed to space suits or astronaut helmets because they bulked him up too much and were incapable of enhancing his body or choreography. Inspired by the "Dancing Machine" video the Jackson 5 did in 1973, which included a provocative female robot as the "dancing machine", Michael said, "I want a sleek piece of chrome that I can dance in head to toe."

Immediately, the idea was met with resistance from others who expressed concern that Michael wouldn't be able to dance in a suit made of metal. It was too dangerous. Even Dennis and I told him a full chrome outfit would be bulky and injure him. But Michael was certain that if he had something custom built, it would work. So we began to think, There has to be another way. Michael's propensity to not take no for an answer had become our own.

For inspiration, Michael lent us a collection of books showcasing the work of Japanese artist Sorayama, who had designed an organic robotic form, which ultimately became the famous "AIBO" dog, now in the collection of the Museum of Modern Art and the Smithsonian Institute of Technology. Sorayama had made his mark in the late 1970s with the creation of female robotic figures that were anatomically correct in form but appeared to have been fashioned of molten silver. The term "sexy robot" was coined to describe them. Dennis and I knew if we could make Michael look like he had a second skin made of metal, like Sorayama had done with his sexy robots, we would not only have reached the next, but we would have surpassed it.

We found a foiled two-way stretch spandex that we tailored to Michael's measurements and customized to his body. The material was tissue-paper thin, it weighed nothing, and it doubled for spit-shined chrome. Under the lights, it looked like Michael was painted in chrome and silver just like a Sorayama robot.

Of all Michael's tour costumes, we had to make the most duplicates of the chrome outfit because the foil on the fabric would either run out or discontinue, we bought up all we could - about one hundred yards. We had to make sure the fabric would last for the entire run of the tour and, in some cases, for the extent of Michael's career. If the chrome outfit became as definitive a piece as Thriller coat or Beat it jacket, we'd have to make sure we had fabric for a tour ten years later; otherwise, I wouldn't sleep.

We wanted to finish the outfit by creating a hard outer shell. The plan was to make a chest plate that would fit him so well no one would ever imagine it was hard plastic. We chose a metalized, vacume-formed pliable plastic and used a hacksaw to cut it out from a mold based on Michael's measurements, and then Dennis sanded and smoothed it and sent it out for chrome plating. First, Michael tried on the white plastic version, dancing his most aggressive moves and giving his highest leg raises, so I could assess where it needed to give more or less. Once Michael stood still, I marked up the white plastic sheath with a black Sharpie, drawing instructions for Dennis to follow in order to further alter and mold the plastic.
[go see part 2...]

Even though he was wearing a dull piece of plastic, Michael's eyes sparkled with anticipation as he envisioned what the final would look like. Then suddenly he asked, "Bush, when is it going to be my turn?"
"Your turn for what?"
"For me to draw on you?" Michael grabbed the marker from my hand and shook it as if it were a can of spray paint.

So after I was done with our fitting, we switched places. Standing with my arms outstretched, Michael took his turn with the Sharpie and marked up the plastic himself. He was having a blast imitating me and drawing on a surface he had never drawn on before. Even in something as mundate as a fitting, Michael found the wonder and fun.

Making a chest plate to fit Michael wasn't our challenge. The real test was how we could design it to be taken off easily. For the show opener, Michael would burst onto the scene wearing a helmet adn the chest plate, but after about thirty seconds he'd have to remove both by himself. We needed to make it so the chest plate could be taken off without Michael fighting with it, so we engineered it to come off from the front with just one pull. Inside the chest plate, we used a hook to attach a three-inch belt that wrapped around Michael's waist and closed on the left-hand side using Velcro. Too much Velcro would have made it too difficult Michael to rip off in one sweep and too little wouldn't have held on long enough. The Velcro was so tenuous that if Michael inhaled too deeply, the plate busted off. Michael had to carefully navigate this costume to make his magic happen.

Once Michael removed the chest plate, he flung it off stage to me or a stagehand. This always stressed me out. If he didn't throw the helmet accurately(which was possible) and I didn't catch it(which was even more possible), the chrome plating would crack against the floor. For this reason, Dennis made three duplicates.

We also had three backups for Michael's helmet, because that was the first item to be thrown off stage and risked busting or chipping. The helmet is actually comprised of seven separate chrome-plated pieces: one each for the front and back halves of the head; the visor over the eyes; and two earpieces over each ear that allowed the visor to move. We used one of Michael's mannequin heads left over from the Thriller days to size the vacuum-formed plastic, and then Dennis sculpted his design. He wanted the head to be fururistic, sexy, and sleek but ultimately determined his prototype didn't look like human, so he sculpted lips onto it. When the visor closed, it no longer looked like a ball, but like a human was underneath.

The helmet was so tight that it took a shoehorn to get it on Michael's head before each show. It had to fit as close to his face as possible to achieve the look he was after. "I don't want to look like a man in a space suit, I want to look like a human form made of chrome."
[go see part 3....]

(The chrome glove before and after. Pictured here, along with the plastic pieces that would be chrome-plated, are beige paper patterns for the black leather lining that created definition and outlined the chrome silouette. They also helped keep the fragile plastic as durable as possible.)

(First Dennis used clay to sculpt lips to create a more human form, then he had to cut the neck up high enough on the back to enable Michael to get it on and off without help.)

In order for Michael to get if off seamlessly, Dennis cut the back of the helmet about three inches higher than the nape of the neck, so it sat more like a mask than a helmet, which allowed him to lift it from the chin and off the top of his head without it getting stuck on the sloping part of the skull. Michael knew how far to turn his head left or right as his adoring audience screamed for him, so as to not reveal the secret of his trick.

One of the biggest conundrums was sculpting the chrome-plated helmet to allow for Michael's headset. And because each venue was different, the headsets they provided varied, so we had to construct the plastic with the worst-case scenario in mind. Find the bulkiest, most complicated headset; place on it top of a mannequin head; and carve around it - that's what we had to do. We had about a month to make this suit, including the arm and leg pieces, and helmet, before we tested the prototype in Bucharest in 1996. We were dealing with hard plastic, so it was imperative to see if what we had cut provided both function and fit before a live audience. Thankfully, we nailed it on the first try. I called Dennis at home in LA to give him the good news and the green light to make us three more of everything.

What people don't know about the chrome outfit, particularlythe plastic chest plate, is that on the right side of the crotch area, we drilled a one-inch diameter hole. Michael's intent was to unhinge a hose from his space pod, hook it to his crotch, and, through a valve connected to the hole, spray the audience with smoke. "The fans are going to love it," Michael said excitedly when the idea first came to him in Bucharest during the tour. "And nobody has ever done it before."

Yeah, well. I wonder Why. As outlandish as it sounded, though, it was typical Michael. I was rooting for it to happen, and I think it would've if the pyro technician had more warning. But even though this idea wouldn't come to fruition, it didn't stop Michael from sharing his other wild ideas. And we were so glad for that, as it was Michael's compulsion for pushing the limits that alwasy sent Dennis and me in search of the next.

Wahnsinnig interessant. Ist eine meiner Lieblingskostüme von Michael, zumindest bevor er die Beinschienen auszieht.
Und am Rande: Ich fand die Hosen sehen im 1996 Leg (z. B. Prag) irgendwie besser aus als 1997 (z. B. München). Weiss nicht warum.

Aus dem "Loch" in der männlichen Region sollte ursprünglich Rauch kommen, wurde aber nicht realisiert.:wau:rofl

Zitat von Xscape2040

Wahnsinnig interessant. Ist eine meiner Lieblingskostüme von Michael, zumindest bevor er die Beinschienen auszieht.
Und am Rande: Ich fand die Hosen sehen im 1996 Leg (z. B. Prag) irgendwie besser aus als 1997 (z. B. München). Weiss nicht warum.

Aus dem "Loch" in der männlichen Region sollte ursprünglich Rauch kommen, wurde aber nicht realisiert.:wau:rofl

:hm..ööh ja..okee...das Feuer blieb also drin..:pfeif

..das fiel mir grad in die Hände...ein Thank You von Michael an M. Bush

Zitat von danceoflife

For inspiration, Michael lent us a collection of books showcasing the work of Japanese artist Sorayama, who had designed an organic robotic form, which ultimately became the famous "AIBO" dog, now in the collection of the Museum of Modern Art and the Smithsonian Institute of Technology. Sorayama had made his mark in the late 1970s with the creation of female robotic figures that were anatomically correct in form but appeared to have been fashioned of molten silver. The term "sexy robot" was coined to describe them. Dennis and I knew if we could make Michael look like he had a second skin made of metal, like Sorayama had done with his sexy robots, we would not only have reached the next, but we would have surpassed it.

mit Sorayama hatte ich grade zu tun...

Ob das auch Inspiration für "Nippelgate" war?

..könnte schon sein

..wir hatten da mal nen extra thread :such..aber nix gefunden :tatort..alöso dann hier mit rein...aktuell: Ausstellung in London

http://www.blinklondon.com/tag/michael-jackson/

^ ..was für ne tolle Jacke...:wub..:umfall

...die Ausstellung kommt nach BERLIN :panik...oh Mann...:panik

Lisa Marie Plenske
Die Ausstellung von Michael Bush kommt nach Berlin!!

Hard Rock Cafe Berlin
vor 13 Stunden
"The King of Style: Dressing Michael Jackson" ist ein Buch mit exklusiven Blicken hinter die Kulissen von Michael Bush, das 2013 erscheinen wird.

Am 12. November haben Michael Jackson Fans bei uns die einmalige Chance, den Autor zu treffen, Ihr Exemplar zu erwerben und ausgewählte Outfits des King of Pop pünktlich zum 25. Jubiläum von "Bad" zu sehen.
*********
@ The Michael Jackson Fan Club, Michael Jackson Fan Club - MJFC, MALIBU Michael Jackson & Family Fan Club Germany: Mehr Info in Kürze/ More info will be provided shortly!

https://www.facebook.com/groups/168385916608474/

Ein paar Erinnerungen von Michael Bush:

Michael's wardrobe ~ ON TRIAL

Dressing Jackson for his 2005 child molestation trial was a challenge. “If Michael stepped into the courtroom in a Men’s Warehouse black suit, it’d look like he wasn’t himself,” says Bush, who worked with Tompkins to create conservative pieces with an MJ edge. Jackets were mostly black or in dark earth tones. “We went crazy once and did an electric blue one,” says Bush, “but even Michael said, ‘We can’t go that far.’”
So they punched up the vests Jackson wore under his blazers.
Still, Jackson’s behavior during the trial did go a little far, jumping on top of a van before applauding fans. Bush explains: “I think afterwards, he was like ‘Uh-oh,’ but it was just iconic Michael. He’d been onstage his whole life and thought, ‘If they come to see me perform, I have to give them something.’”
After his acquittal, Jackson wanted his trial clothing locked up. “I never want to see those again,” he told Bush.

Michael für seinen Prozess von 2005 einzukleiden war eine Herausforderung. "Wenn Michael in den Gerichtssaal gekommen wäre, mit einem schwarzen Anzug aus dem Laden, hätte er nicht wie er selbst ausgesehen," sagt Bush, der mit Tompkins zusammenarbeitete, um konservative Kleidungsstücke zu kreieren mit einem MJ Touch. Die Jacken waren meist schwarz oder in dunklen Erdtönen. "Einmal machten wir etwas verrücktes und kreierten eine knall- blaue (Jacke)", sagt Bush, "aber sogar Michael sagte dazu, "das können wir nicht machen." Deshalb peppten sie die Westen auf, die Michael unter seinen Jacketts trug. Trotzdem ging Jacksons Verhalten während des Prozess vlt. etwas weit, als er auf ein Autodach sprang, vor applaudierenden Fans. Bush erklärt: "Ich denke, danach dachte er wohl "ohoh"..aber es war einfach Michael. Er war sein ganzes Leben auf der Bühne und dachte "wenn sie kommen und mich sehen wollen, muss ich ihnen was bieten" Nach seinem Freispruch wollte Jackson, dass seine Gerichts Kleidung weggeschlossen wurde. Er sagte zu Bush. "Ich möchte diese Sachen nie wieder sehen."

Michael's wardrobe ~ PEARL-ENCRUSTED JACKETS

“If you tell anyone that a man is going to wear pearls, their reaction is, ‘Huh?’” says Bush, but not Jackson. For Jackson’s 1991 Oscars date with Madonna Bush and Tompkins heard the Material Girl was going to wear white — so the duo, inspired by ancient, pearl-embellished royal costumes, sketched two options. Jackson wore the dinner coat to the Oscars and the military jacket, adorned with nearly 400 pearls, to the 1993 Grammys — accompanied by sister Janet. “Usually with Michael you’d get an applause,” Bush says. “He would do a Japanese bow out of graciousness, and you’d get a hug that said, ‘I can’t believe I get to wear this.’” The military jacket became Jackson’s favorite garment of all time and inspired the jacket he was buried in.

"Wenn du jemand erzählst, dass ein Mann Perlen tragen soll, reagieren sie mit "huh, was?" sagt Bush, aber Michael reagierte nicht so. Bei Jacksons Oskar-Date mit Madonna, 1991, hörten Bush und Tompkins vorher, dass Madonna weiss tragen werde - so entwarfen sie, inspiriert von alten, perlenverzierten königlichen Kostümen, zwei Modelle. Jackson trug das "Dinner" Jacket zu der Oskarverleihung und das Military Jacket, geschmückt mit fast 400 Perlen zu den Grammys 1993, in Begleitung seiner Schwester Janet. "Normalerweise bekamst du von Michael immer einen Applaus", sagt Bush, " Er machte eine anmutige japanische Verbeugung, gab dir eine Umarmung und sagte: "Ich kann garnicht glauben, dass ich das tragen darf." Das Military Jacket wurde Jacksons Lieblingsstück und inspirierte die Jacke, mit der er beerdigt wurde.

Michael's Wardrobe ~ FENCING UNIFORM

“Fencing is known in Europe as the sport of kings,” says Bush. “We didn’t figure it out until after we’d done it, but with Elizabeth Taylor dubbing him the King of Pop, [the uniform] just fell right into place.” Initially made in black leather for photos shot by Herb Ritts, Jackson announced he wanted to wear it on his Dangerous tour, and helped sketch the gold one, which caused a stir for drawing attention to his crotch.

"Fechten ist in Europa als Sport der Könige bekannt." sagt Bush. "Wir dachten garnicht daran, bis wir es gemacht hatten, aber weil Elizabeth Taylor ihn King Of Pop genannt hatte, passte es dann genau." Ursprünglich war es aus schwarzem Leder gemacht, für einen Fotoshoot mit Herb Ritts, dann sagte Jackson, er wolle so etwas auf seiner Dangerous Tour tragen, und half dabei, das goldene Outfit zu skizzieren, welches dadurch Aufsehen erregte, weil es die Aufmerksamkeit auf seinen Schritt lenkte.

Quelle: Facebook