2012年10月18日 - 邁克爾•傑克遜（Michael Jackson）不僅歌舞獨具一格，他的時尚品味也獨樹一幟，從軍式外套到徽章到鑲嵌珠寶的手套到軟呢帽到滿是珠寶的夾克。
在新書《時尚之王：為邁克爾•傑克遜著裝》（The King of Style: Dressing Michael Jackson）中，為傑克遜設計了25年舞臺服裝的邁克爾•布希（Michael Bush）提供了對“流行音樂之王”及其標誌性風格的幕後透視。
“衣服必須能貼合他表演的方式。”布希說，“他想要自己的服裝穿在身上時和放在衣架上時一樣賞心悅目。他向觀眾展現了一層改進和細節。”傑克遜穿的所有東西都能吸引焦點，是舞臺上他的延伸，舞蹈對設計起到了關鍵作用。他喜歡萊茵石和小珠飾，因為它們能反射舞臺燈光。
功能和舒適度是根本，領帶和邊飾不能有，因為它們可能會被歌迷抓住。
“這些是人工的，經過深思熟慮。”布希說體育場越來越大，傑克遜的褲子卻越來越短，越來越能看到他鑲滿萊茵石的襪子。
“邁克爾關心後排那些花了和前排的人一樣多錢的人，所以沒有人會錯過他帶來的娛樂，因為都能看到他的表演。”布希說。
布希和他的已故搭檔鄧尼斯•湯普金斯（Dennis Tompkins）為傑克遜設計的這800 – 900件服裝中的每件都是誇張、緊身、閃光的流行巨星服裝，在書中都有詳細圖片展示，有草圖和表演照片。
聚光燈下的傑克遜更喜歡隨便、寬鬆的燈芯絨襯衫、有前褶的黑棉褲和平底便鞋。
儘管傑克遜名利沖天，有昂貴的名牌鞋，但他一直穿富樂紳（Florsheim）鞋表演，這種鞋子在大多數美國的購物中心都能買到。
“他教會自己穿著富樂紳鞋跳舞。它們很舒適，是他從童星起就穿的鞋子。”布希在書中說。
傑克遜的風格從他的軍式外套發展而來，設計時想著他的女性觀眾。還有更叛逆和分明的皮夾克造型，前面像掛軍隊獎章那樣掛著小調羹和叉子。
“第一層是夾克，然後我們在下面放拉鏈和《飆》（Bad）專輯封面上的搭扣，然後我們問，‘我們怎麼才能在舞臺上把這做得更了不起？’”閃光燈和電夾克是下一步要做的。每張專輯都有它的造型，都是從前面的造型進化而來。
布希和湯普金斯最大的成就可能就是傑克遜的“傾斜鞋”，這是有專利權的。他最早在1987年《犯罪高手》（Smooth Criminal）的短篇電影裏表演了這種前傾45度動作，多虧了幕後的魔力。
布希和湯普金斯曾在傑克遜公開表演這種動作前開發過這樣的鞋子，那花了湯普金斯一個月時間，他設計出能固定在舞臺地板上的鞋子，效果完美。
儘管傑克遜說沒有最喜歡的服裝，但布希說傑克遜最喜歡的、也是他下葬時穿的就是鑲滿珍珠的白色軍式夾克，那是他在1993年格萊美頒獎典禮上穿的。
當傑克遜家族聯繫布希和湯普金斯要他們選傑克遜最後的服裝時，原來那件找不到了，所以他們又做了一件。
“邁克爾是一個充滿矛盾的人，我們在設計的服裝上體現了大多數元素：嚴肅的軍式服裝也能靈活易動，能讓軍隊指揮官穿出紳士的感覺；眼花繚亂的裝飾也能安靜而謙卑；獨一無二的手工服裝配上老舊的富樂紳鞋。”布希在書中說。
Jewels, Pearls, and Plain Florsheim Shoes For Michael
by Patricia Reaney
(Reuters) - Michael Jackson was the ultimate entertainer, who oversaw all the details of his shows, from the slick choreography to the rhinestones and pearls carefully hand sewn onto his elaborate costumes, his longtime costume designer says.
As much as music and dance characterized the pop superstar, the late Jackson was also known for his style, from military outfits and regalia, to jewel-encrusted gloves, fedora hats and intricately beaded jackets.
In a new book, “The King of Style: Dressing Michael Jackson,” Michael Bush, the man who designed and made Jackson’s stage costumes for 25 years until the pop star’s death in 2009, offers a behind-the-scenes look at the iconic superstar and the development of his signature style.
“The clothes had to work around the way he was performing,” Bush told Reuters in a telephone interview. “He wanted his outfits, or his costumes, to be as entertaining on a hanger as they were on him. It was an added layer of refinement and detail that he was projecting to his audience.”
Everything Jackson wore had a focus and was an extension of what he was doing on stage, with dance playing a pivotal role in the designs. He favored rhinestones and beading because they reflected the stage lighting.
Function, fitness and comfort were essential, with neckties and fringes forbidden because they could be grabbed by fans.
“It was very contrived. It was very thought out,” said Bush, adding that as the stadiums got bigger, Jackson ’s pants got shorter and shorter, the better to see his rhinestone socks.
“Michael was concerned that the people in the back row paid just as much to see him perform as the people in the front, so no one got cheated out of the entertainment he was projecting, because everyone could see what he was doing,” Bush said.
MAN OF PARADOXES
Each of the 800 to 900 costumes Bush and his partner Dennis Tompkins, who died last year, made for Jackson were over-the-top, skin tight, flashy pop-star creations. Many are shown in detailed photographs in the book, along with sketches and performance photos.
Still, away from the spotlight, Jackson preferred more casual, loose-fitting corduroy shirts, black cotton pants with front pleats, and loafers.
And despite all his fame and wealth, and gifts of expensive designer shoes, Jackson always performed in Florsheim shoes, which can be purchased in most U.S. malls.
“He taught himself to dance in Florsheims. They were comfortable and were what he had worn as a child star,” Bush explained in the book, to be published October 23.
Jackson’s style evolved from his military outfits, featuring taut lines and embellishments and designed with his female audience in mind. These were followed by a more rebellious, edgy look with leather jackets, including one with small spoons and forks dangling, like military medals, across the front.
“The first layer was the jacket, then we put the zipper underneath that and the buckles from the “Bad” album look, and then we asked: ‘How can we make this larger than life on stage?’”
Strobe lights and electric jackets were the next step. Each album had its own look, which evolved from the look preceding it.
Perhaps Bush and Tompkins’s greatest achievement was Jackson ’s “lean shoes,” which were eventually patented. He first performed his “lean move,” leaning forward at a 45-degree angle in the short film “Smooth Criminal” in 1987, thanks to behind-the-scenes magic.
Bush and Tompkins were tasked with developing shoes that would allow Jackson to perform the move before a live audience, without falling over. It took Tompkins a month but he devised shoes that bolted to the floor and worked perfectly on stage.
Although Jackson claimed not to have a favorite costume, Bush said the one the pop star liked the most, and in which he was laid to rest, was the pearl and bead encrusted white military jacket that he wore when his sister Janet handed him a Grammy award in 1993.
There wasn’t time to track down the original jacket when the Jackson family contacted Bush and Tompkins and asked them to choose his final outfit, so they made a copy.
“Michael was a man of many paradoxes, most of which we were able to represent in the clothes we designed: Rigid military cuts that were also elastic and moveable; rebellious regalia, fit for army commanders, worn over the heart of a gentle man; bedazzled embellishments adorning a man blessed with a quiet humility; one of a kind, handcrafted clothes worn with aged, scuffed Florsheim shoes,” Bush said in the book.
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