Recreated jail stripes courtesy of Jean Charles De Castelbajac paired with Mercura sunglasses, dolled prisoners-some even fighting in heels (every man’s dream), a refined use of caution tape custom made by Brian Lichtenberg and a custom chain and jumpsuit by favored Victor & Rolf with a (literally) smokin’ pair of glasses designed by Haus of Gaga.  The County Jail was transitioned into the opening scene for the Prison For Bitches and the beginning of a new age representation of all American music and its video component as the world knows it. Fresh off the heels of celebrating her album going diamond, the artistic fashion megastar Lady Gaga teamed up with fellow powerhouse Beyoncé and this time, with one of the most fashion forward displays that we have seen in the past decade; a fashion exploded twist of Thelma and Louise.  While some may be disappointed since the video’s story board didn’t directly correlate to the lyrics, others recognize that Jonas Akerlund and the Haus of Gaga has done it again, this time, more major way than ever before. This video stands firmly as its own entity and the music, is secondary.

In the midst of all of the creativity, Gaga still managed to strip down to a more natural state than we’ve ever seen her for the one of the 3 dance scenes choreographed by Laurieann Gibson. After sticking a dildo down her pants for fun with UK’s Q Magazine, she discreetly re-addressed the rumors of her being a man as she climbed onto the prison gate, and then danced in a crystallized bikini designed by Haus of Gaga, revealed from beneath the Search and Destroy studded jacket. We couldn’t help but to notice the amazing vintage Thierry Mugler hat and dress combination that adorned Gaga as she left the prison. The look was classic, resembling a nun gone upscale-chic. Although we saw Gaga perform in a similar clear plastic Rachel Barrett number on her Monster Ball tour at the O2 Arena, it was perfect suiting for her “Make a Sandwich” routine with the Fred Butler constructed telephone helmet, hairstylist Danilo created hair piece, and Haus of Gaga Papier-mâché inspired boots.

While this was not in the LEAST bit Beyoncé’s show, she had her share of extreme fashion as well. Garbed with an attractive yellow Atsuko Kudo couture latex fitted dress, paired with Jeremy Scott shades, she pulled the honey bee look off. We were less than amazed by the wig choice, however, the revamped military inspired Jean Charles De Castlebajac jacket/shoe pairing with Franc Fernandez & Oscar Olima denim short look was impeccable.

Some would say that Gaga used the lyrics and the symbol of the telephone as a metaphor to relay the direction that fashion is going in: a direct extension of thought. TV personality and celebrity stylist said Robert Verdi said “It’s interesting that Gaga is inspired by the telephone because it’s almost an object of yesteryear. There’s something really almost nostalgic already about a telephone, particularly in the way she’s using it in some of them. She’s deconstructing it and it’s somehow metaphoric for communication and it’s attached to her head, which is kind of the direction we’re going in.” Lady Gaga interviewed with E! and told them that “There was this really amazing quality in ‘Paparazzi,’ where it kind of had this pure pop music quality but at the same time it was a little bit of commentary on fame culture,” she said of working with director Jonas Åkerlund. “[She] wanted to do the same thing with this video — take a decidedly pop song, which on the surface has a quite shallow meaning, and turn it into something deeper: the idea that America is full of young people that are inundated with information and technology and turn it into something that is more of a commentary on the kind of country that we are.”  The concept of the American diner was culminated by Gaga wearing yet another Haus of Gaga outfit with Christian Louboutin boots, and Beyoncé in Oscar Olima. The Haus Of Gaga reached for the moon with their ribbed leopard printed suit, and the “Telephone” video was topped off in front of the Kill Bill Pussy Wagon with a look that stressed the cowboy hat, created by Emilie Pirlot. “Telephone” offers up the Wild Wild West of both the society and fashion, ladies and gentlemen, with a host of both young and old designers and creative personnel.

Others that deserve an honorable mention is Lady Gaga’s Art Director Matthew Williams, stylist Nicola Formichetti, make-up artist Billy B and manicurist Kimmik. For Beyoncé, stylist Ty Hunter (for Tina Knowles Production), make up artist Francesca Talot and hairstylists Kim Kimball and Nicola Formichetti, production designer Jason Hamilton, art coordinator Brian Croke and everyone else one listed in the credits of the mini-movie. If Lady Gaga and her team have not proved their worth to date, they have definitely sealed the deal here. Watch the 9-minute video and enjoy.