Is Joan of Arc a fashion icon? The idea makes perfect sense in the context of “Love & War: The Weaponized Woman,” a bombshell of a show at the Museum at the Fashion Institute of Technology. The fashions on view here speak to the complicated roles of modern woman — tough and tender, empowered in the workplace, and a seductress, too.

A 16th-century steel-fingered gauntlet, for example, is juxtaposed with Azzedine Alaïa’s gauntlet-inspired gloves (1987–88). Glittering neck corsets by Rifat Ozbek (1993) echo the protective qualities of a 250-year-old chain-mail neck defense from Japan. Iron leg armor is translated into Guillaume Hinfray’s silver boots in supple leather (2003). That men’s armor should be the template for women’s wear suggests women and their designers are eager to don the trappings of authority — even when those styles make it difficult to move.

The director of the Museum at FIT and the show’s curator, Valerie Steele, calls it “tough chic.” She said the exaggerated styles seen on the runway, including the “‘gothic glamour’ of armor, will be visual inspiration to the woman who buys a handbag trimmed with hardware that gives a hint of the armored appearance.”

Displayed next to Joan of Arc’s armor (as worn on Broadway by Katharine Cornell in 1936) is what some would consider the most deadly weapon in a woman’s arsenal — French lingerie from the 1930s. Its invitation is subtle, especially compared to a recent Victoria’s Secret let-itall-hang-out bra and panty set encrusted with huge red rhinestones.

Ambiguous fashion statements can be the most intriguing. Anna Sui’s camouflage pattern gown is covered with sequins (2005), while Helmut Lang added holsters to his silk organza jacket (2003). Prada’s gorgeous chain-mail gown (2000) leaves many spaces where skin — or vulnerability — shows through. Even more revealing is the bodice of a dress byYohji Yamamoto (2004), made entirely of transparent plastic squares linked together by metal rings.

If armor provides an exoskeleton for a more intimidating silhouette, some designs go beyond the concept of support to impose their shape on the wearer. Shaun Leane created a coiled solid silver corset for Alexander McQueen (1999–2000), for example. Issey Miyake’s red molded plastic bustier (1983) is marked with the nipples and navel of a female torso, recalling the breastplates of combat long ago.

Hussein Chalayan’s fiberglass dress (1999) is more a meditation than a garment, since it is impossible to sit down while wearing it. Yamamoto’s wooden corset (1991–92) fragments the female form in the manner of the Russian Constructivist artists of the early 20th century. Giorgio Armani’s Samurai armor tunic (1981),with horizontal silk trapunto work, is elegant enough for formal occasions.

Thierry Mugler goes futuristic, with a skintight silver jumpsuit that features a robotic bra, helmet, and gauntlet (1995). This outfit is one part allure, one part challenge, putting one in mind of the lingerie that Jean Paul Gaultier designed for Madonna’s 1990 “Blond Ambition” tour.

Borrowing from military attire has been a perennial fashion trend. “Officer chic is one of the strongest looks this season,” Ms. Steele said. Junya Watanabe’s skirt suit (1998) in Army green wool references the World War I infantry soldier. The trench coat is another classic from World War I, perpetually “updated” but always with a nod to its antecedent.

And here, too, are weapons of seduction. Dolce & Gabbana’s flesh-toned evening dress flaunts an exposed brassiere and foundation garments clearly visible below (1996). Isabel Toledo’s black lace wrap is layered over a lush pink underdress. Even more brazen is A.F. Vandevorst’s lace dress, which scarcely conceals the bra, panties, and garter belt underneath.

But being totally covered can be the most dramatic. In John Galliano’s head to toe suit of ceremonial armor (2006), the helmet trails a plume, and the stiff black fabric is embroidered in gold, pearls, and gemstones. This is the most extreme look in the show, and the most breathtaking.

Until December 16 (Seventh Avenue at 27th Street, 212-217-5800).