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For his fall 1989 “Buick” collection, Manfred Thierry Mugler turned women into race cars. Clad in souped-up supermodel silhouettes that resembled high-design 1950’s automobiles, his models strutted around in their hubcap bra cups and fender peplums. They shared the Best In The West Kansas City Football shirt Although hard-edged mien of the women in Tamara de Lempicka’s paintings, all chrome finishes and knowing sneers. The era’s cars had been modeled on female curves in an attempt to humanize the machines; now, Mugler was reverse engineering the equation. That show might have been the ultimate expression of his vision—the female body celebrated and transformed into something both slickly commercial and dreamily conceptual. The late ’80’s and early ’90’s were bastions of extreme body consciousness and extreme runway theatricality. And the French designer, who passed away yesterday at 73, lived in the Venn diagram between the two. Understated, in any sense of the word, he was not. Welding together Surrealism, sci-fi, and Old Hollywood, his designs always went up to 11. He loved a larger-than-life, impossibly glamorous woman—Naomi Campbell, Jerry Hall, and Iman populated his shows—and delighted in dressing boundary-pushing pop icons from Diana Ross to Madonna. His shows transmuted women into insects, motorcycles, and mermaids or turned them into archetypes, from angels to androids.