Thierry Mugler’s Couturissime arrived at Brooklyn Museum in 2022 for the last stop of its tour. The clothes propose some considerable revisions to the human body: a narrower waist, a much wider shoulder, the occasional conversion into an insect. Chrome, latex, glass, and feathers make getting dressed look like becoming something else.

The new graphic identity has broad shoulders of its own. Faire Type’s Sprig and Sprig Sans give the lettering a similarly sculpted quality. Broad proportions establish the title’s stance; shifts between thick and thin strokes keep it supple. The pairing extends from the exhibition title and advertising to the timelines, section introductions, and individual labels. On the title wall, smoke reveals and obscures the lettering, recalling the clouded runway entrance of “La Chimère” (Fall/Winter 1997–98).

Inside, glossy, translucent labels take on the color and texture of the surfaces beneath them. The grain of a black wall shows through a paler rectangle. On glass, words mingle with reflections of the outfits beyond. The treatment changes character as the galleries move between dark metal, colored light, and white walls. These small surfaces participate in the exhibition’s artifice while doing the ordinary work of identifying things.

Mugler chose the bright yellow himself, before his death. Outside the galleries, it carries the identity across street posters, the museum’s façade, and subway advertisements.