Jean Paul Gaultier, known for his groundbreaking and often provocative designs, has consistently pushed the boundaries of fashion. His work is characterized by a unique blend of humor, social commentary, and artistic innovation. Let's explore some of the key aspects of his career and philosophy.
The "Rule Breaker"
The theme in selecting the honorees of the night was “rule breakers.” Jean Paul Gaultier made a funny entrance at the Fashion Group International’s Night of Stars benefit in New York last night, arriving arm-in-arm with Lauren Bacall and Kerry Washington. Ms. Washington wore a rust colored dress of lace and tulle by Gaultier, but Ms. Bacall, his guest, stuck with her customary black pantsuit.
When Mr. Gaultier accepted his award, the audience went wild, mostly because he made a bawdy remark by calling himself a “breaker” of another sort, one unsuitable to print here, but you get the drift.
Gaultier's Unique Approach to Fashion
Jean Paul Gaultier approaches fashion in his own distinct way. He feels fortunate not to be heavily influenced by large corporations that might dictate his creative choices. Evaluating his work is important to him, but he doesn't feel it's his place to define his impact on fashion.
Gaultier acknowledges the influence he's had, particularly in bringing underwear to the forefront of fashion. He notes that men also engage in similar trends, citing the evolution of the T-shirt from underwear to a modern shirt. This shift reflects a broader change in mentality, where items traditionally hidden are now proudly displayed.
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He notes that things normally you would not cover, that you didn’t show before, and now you do show on the outside. Lots of things now are inside out, and maybe because people feel more confident.
Despite reports of increased stress and decreased confidence, Gaultier sees a "revival" in fashion. He believes people tire of trends when they become too popular. To be honest, it would be more cool if each time was the same, because then you won’t feel stressed.
Sometimes there is no theme at all, or sometimes at the end there is not just one theme are made of different influences. Sometimes at the beginning I have one idea of how it should be.
Inspiration and Influences
Gaultier draws inspiration from diverse sources. He was deeply moved by the sight of Hasidic Jews leaving a library. He felt so strongly that my collection will be like that. He also references the movie called “Pain et Chocolat,” about an Italian guy who immigrated to Switzerland and wanted to be integrated completely.
The underlying message of that movie is that when you try to change yourself to pretend to be somebody else, you don’t feel comfortable. It is beautiful to be what you are. Gaultier, who’s always supposed to be funny, was making a joke. That was not the purpose.
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Controversy and Breaking Norms
The point was never to break the rules and things like that. I never did it as something to be known for. People were changing - that men were changing - and their views were changing so that it was no longer a shame to express femininity.
To me it felt natural that people were ready to change. I thought other people were thinking the same thing of wanting something else.
Gaultier's use of camouflage is another example of his unique perspective. Camouflage is supposed to be for military, so I did something romantic with military. It is a very ’70s message, which is right now. It’s like a surprise when you come closer to it.
Exactly, the camouflage is camouflaged by itself. It’s not hysterical. You don’t see it too much, at first.
Working with Other Artists
Why Jean Paul Gaultier is one of Fashions Biggest Icons
Work is good when you see and you do. Sometimes I like the experience of things that are not just fashion, but also working in the cinema, or with Madonna. When I do my own collection, I am under my own control, which means I am the director, like the director for a movie.
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I do the scenario, the script, the directing. When I do something for someone else like Hermès, they are their own scenario, and me, I am making the movie, but with the script and scenario written by somebody else. I put it in my own way. Madonna or Almodóvar, they have their own stories, and I try to put myself into them. I see how they are organized, how they treat things. It teaches me things. I still learn a lot.
The Couture Collection and Religious Inspiration
The couture faithful at Jean Paul Gaultier may not have literally expected a full religious experience, but that's what they got, complete with a large puff of incense and a visitation by the saints. From first to last, every model wore a halo. Their faces were painted like plaster statues, their garb inspired by the vernacular devotional art found in local churches throughout the Catholic world.
Was it an outrage? Well, not really. Gaultier has treated religion in some very provocative ways, not the least of which was, way back, a tableau of the crucified Christ. But this time, the tone, if not precisely reverential, wasn't calculated to mock. Instead, his ingenious skews on church iconography seemed gently appreciative of its capacity for shining beauty.
Not that he wasn't witty about it. What looked like monastic hoods and nunlike wimples were, in fact, integral stoles that spiraled from the back of a chic black dress or a pair of pants (revealing some sexy slices of skin on the way). Lace and crochet-work commonly used to decorate shrines were remade into formfitting gowns. And the colors-faded pinks, cobwebby gray, and Madonna blue-were lifted from hand-tinted holy cards and stained glass.
Key Elements of Gaultier's Religious-Inspired Designs
Here's a breakdown of how Gaultier incorporated religious elements into his couture collection:
| Element | Description |
|---|---|
| Halos | Worn by every model, symbolizing sainthood. |
| Plaster-like Makeup | Faces painted to resemble plaster statues found in churches. |
| Monastic Hoods and Wimples | Integral stoles spiraling from dresses and pants, revealing skin. |
| Lace and Crochet | Remade into formfitting gowns, inspired by shrine decorations. |
| Colors | Faded pinks, cobwebby gray, and Madonna blue, lifted from holy cards and stained glass. |
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