Jean Paul Gaultier exhibition: A model curator takes on Gaultier - Page 2 - the Fashion Spot
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❤fashion is the murder in my world❤
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Ah, I wish I could go! San Fran is actually closer than Montreal for me, but I doubt I can make the trip. Perhaps I will have someone snag a catalogue of the exhibit for me. Sigh.

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Originally Posted by KKnardi View Post
^it won't. I don't think it will even come to Paris...
Go see it in Madrid or Rotterdam, definitely worth it. More alive than the YSL or Rykiel exhibits.

Vaut mieux voir ce truc que les bagnoles de ce gros con de Ralph Lauren/Lipschitz.

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Originally Posted by CommanderTMugler View Post
I just saw someone on twitter say it was going to Madrid next... is JPG's twitter real?

But if it's going to Dallas then I'm hopping on a plane to go!
The JPG twitter account is most definitely real!

Catherine Deneuve came to Montreal to visit the museum yesterday!
Probably because she wanted to see what footage there was of her at the exhibition...

I agree with you Fuuma, this one felt much more alive and dynamic than the YSL one- I didn't see the Rykiel one, but it goes in hand with Gaultier's humor and overall personality. Also, the timing of the YSL one just wasn't right for something as cheerful and crazy (his passing)...

I'm quite partial to Ralph Lauren but that was funny.

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(excerpt from the new yorker - written by susan orlean)

n the summer of 2009, Nathalie Bondil, the director and chief curator of the Montreal Museum of Fine Arts, approached Gaultier with a proposal to mount an exhibition of his work. Before settling on Gaultier, Bondil had considered doing an Alexander McQueen exhibition. “He also had a very strong visual world,” Bondil said. “But Jean Paul Gaultier is like smiling sunshine. McQueen is the dark moon.” Gaultier says that he was reluctant but Bondil convinced him that the exhibition could really reflect his way of looking at the world. “I wanted something very, very alive,” he said. “I didn’t want something dead—a museum can seem dead, the clothes are very old, it’s like a funeral.” He thought that if the exhibition could show his obsessions—“flesh, ethnicity, different kinds of global beauty, cinema, my interest with Madonna, tattoos, the Parisienne, the male as object, all that kind of thing”—he would consent. Thierry Loriot, who is in charge of fashion and design projects at the museum and was the chief curator for the exhibition, interviewed almost everyone who has been instrumental to Gaultier’s career, and began looking through some eight thousand pieces that he had designed over the years. Loriot selected a hundred and forty for the show, along with accessories, photographs, archival materials, and seventy videos. So far, more than a hundred and twenty-five thousand people have seen the exhibition. Gaultier’s favorite thing—besides sugar and couture—is film, and the exhibition ended up echoing his beloved “Falbalas.” He said, “At the end of ‘Falbalas,’ there is a beautiful scene—it’s the presentation of the couturier’s collection.” Then he described how the couturier, who is starting to go mad, stares at a mannequin, which suddenly becomes an apparition of the woman he loves. The way the mannequin came to life gave Gaultier the idea of making mannequins for the show that would also somehow come alive. “Why not?” he said, shrugging. He had seen a theatre performance in Avignon that used video projections and blank mannequin faces to create a similar illusion, so he approached Denis Marleau and Stéphanie Jasmin, the directors of the experimental theatre company Ubu, and together they created thirty-two animated mannequins that talk, wink, smile, and sigh. The effect is startlingly realistic, but slightly unnerving. The first mannequin you see in the show is one of Gaultier, chatting and laughing and exclaiming, as he often does.
The show itself is mind-boggling; there is a gown made to look like the skin of a leopard, fashioned entirely from beads; thigh-high tights made of Chinese-print satin; mermaid dresses that drape into swirls of liquidy fabric; long skirts with mariner stripes, made entirely of tiny feathers. While I walked around the exhibition, most of what I heard people saying was: “It’s amazing.” The visitors that day were the kind of mixed bag that would have made Gaultier happy—a lot of fashionable young women, some gay couples, a few families with children, and a number of elderly people, who tilted their bifocals so that they could examine the fabrics more closely. One of the older couples was paused in front of the section that showcased the first of Gaultier’s men’s skirts. I asked them what they thought of the clothes. “It’s a little, you know, ‘out there’ for me,” the woman replied. She and her husband moved on to the next section, most of which consisted of variations on bondage costumes. “Everything these days is mix and match,” the woman went on. “Soon we won’t know who is who.” Gaultier is thrilled with the way the exhibition has turned out. “It’s like a dream come true, in reality, for me,” he said. “It’s alive, it’s a story, it’s a movie. It is like a dream!”

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