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18-06-2011
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Jean Paul Gaultier exhibition: A model curator takes on Gaultier


Curator Thierry-Maxime Loriot shows off his catalogue for the Jean Paul Gaultier exhibition at the Montreal Museum of Fine Arts, opening Friday, June 17.

Photograph by: Marie-France Coallier, The Gazette




Read more on the Jean Paul Gaultier exhibition here
Thierry-Maxime Loriot's first professional fashion job was modelling for Burberry, with Kate Moss at his side and Mario Testino behind the lens.
Now, more than a dozen years later, Loriot is putting his best Prada-clad foot forward as curator of his first solo show: The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, opening Friday at the Montreal Museum of Fine Arts.
He brings the perspective and contacts from 10 years inside the fashion world to the show, bound to be a summer blockbuster in Montreal before travelling to Dallas and San Francisco. It features almost 130 ensembles from the Gaultier oeuvre dating from 1976, both haute couture and prêt-a-porter, augmented by animated mannequins, fashion photographs (Testino, Lindbergh and others who captured Loriot in campaigns for Armani, Lanvin, Gap and Banana Republic), sketches, film excerpts from Almodovar, Greenaway and others, concert clips from Madonna and Kylie Minogue and more.
Loriot, 34, who joined the museum three years ago after studying art history at the Université de Montréal, also produced a glorious, weighty (10 pounds!) catalogue for the exhibition, with more than 550 photos as well as essays with fashion commentators Suzy Menkes and Valerie Steele. There are also more than 50 interviews with muses and artists, including Madonna, Catherine Deneuve, Marion Cotillard, Pierre Cardin and Dita Von Teese.
This week, as workers were installing the exhibition - former model and longtime Gaultier collaborator Tanel Bedrossiantz walked by in overalls - Loriot, tall and lean in a navy Lanvin suit with burnished Prada boots, posed for photos with ease and a winsome smile.
The object of the show, he said in the café of the museum, is to allow the public an up-close view of haute couture, which only those invited to the shows in Paris or the very few clients of haute couture in the world can see. Some pieces, like a garment in leopard skin pattern, are entirely beaded in pearls, and took hundreds of hours to make. And the savoir faire for the craftsmanship is disappearing, he said, saying there is a piece of Irish crochet lace that only one person can still do.
On the question of fashion as art, there is no doubt in Loriot's mind. "When you look at corsets, the way they are made, it is like sculpture.''
He wanted to show that fashion influences art. "I come from the fashion world, so image is important to me," he said, adding that the great names in fashion photography are represented in the show.
So is contemporary art, with an image of Cindy Sherman in a corset from 1983, quite a spectacular and memorable image, he said.
Gaultier's collaborations in cinema and dance are also represented. "Fashion is part of the art,'' he said.
Many museum shows are brand funded, like the Dior show at the Pushkin Museum in Moscow on until July, Loriot pointed out. "It's more like an advertising campaign than a celebration of creativity."
The Montreal Gaultier show is 100 per cent funded by the museum.
Gaultier collaborated, allowing access to his archives. Loriot went through about 150 collections, with perhaps 60 pieces each, as well as more than 5,000 images to curate the show and choose the 550 photos in the catalogue.
There is something for every interest in the show, Loriot said. In each of the six themes - the Odyssey of JPG, Boudoir, Skin Deep, Punk Cancan, Urban Jungle and Metropolis - there are garments, but also sketches, photos and stage costumes.
Madonna lent her entire collection of Gaultier costumes, to be seen together for the first time. "It's a big coup,'' he said.
A gold lamé corset of 1930s fabric worn by Madonna is among his favourite items in the show. "It shows how stage costumes are alive. She sweats a lot on stage because of the choreographies. Now it's a bit greenish because of the sweat and mix of metal fabrics."
He also recommends a close look at the leopard print dress, entirely beaded in pearls, with claws of crystal, from the 1997-98 fall haute couture collection. It took hundreds of hours to craft.
The show is very much a portrait of society, he said. Gaultier took his first influences from the street, particularly the punk movement of London. He would visit Vivienne Westwood and Malcolm McLaren's shop on the King's Road, Loriot recounted, taking cues from there from the bondage and vinyl, which always had a couture aspect.
"His fashion was very inclusive,'' Loriot said. "There is a very strong social message in Gaultier's world. He mixes and matches cultures.
"It was a prophetic vision of modern society.''
Gaultier also defied norms of beauty, using street girls with attitude rather than stereotypes, and welcomed gender-bending. "He showed his skirts on masculine men with muscular legs, because he thought it was sexy."
What the show tells us about Gaultier is "everything - all his obsessions through the years."
"It's a very generous message through fashion,'' Loriot said. "Everybody can wear Gaultier, everybody can have access to Gaultier. You can try to recreate your own Gaultier look."

The Fashion World of Jean Paul Gaultier runs June 17 to Oct. 2 at the Michal and Renata Hornstein Pavilion of the Montreal Museum of Fine Arts, 1379 Sherbrooke St. W. $15 for adults 26 to 64, with reduced rates Wednesday evening and for students and seniors.



www.montrealgazette.com

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18-06-2011
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Oh, how I would love to see this exhibition.

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18-06-2011
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I've herd about it so much, I'd love to go! It's in Montreal right now and going to go to Madrid afterwards.

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18-06-2011
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well...
the article says it's coming to the US next...

Quote:
in Montreal before travelling to Dallas and San Francisco.

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18-06-2011
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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!

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18-06-2011
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Quote:
Originally Posted by softgrey View Post
saying there is a piece of Irish crochet lace that only one person can still do.
That would be this wonderful piece from his FW09 HC collection...probably one of the most brilliant pieces I've seen in his couture..
(style.com)
Attached Images
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File Type: jpg 00200m.jpg (112.0 KB, 15 views)
File Type: jpg 00210m.jpg (82.3 KB, 12 views)

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19-06-2011
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Sounds exciting, kudos. The catalog / book sounds interesting.


Last edited by agee; 19-06-2011 at 07:57 AM.
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17-07-2011
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24-07-2011
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Great video!

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24-07-2011
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I can't wait till this comes to Dallas...so excited!

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24-07-2011
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^it won't. I don't think it will even come to Paris...

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24-07-2011
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Quote:
Originally Posted by KKnardi View Post
^it won't. I don't think it will even come to Paris...
actually...Dallas Museum of Art is getting a Gaultier exhibit in November...I don't know if it's this specific one...but its a Gaultier exhibit nonetheless...

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26-07-2011
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Originally Posted by TheeMigs View Post
actually...Dallas Museum of Art is getting a Gaultier exhibit in November...I don't know if it's this specific one...but its a Gaultier exhibit nonetheless...
Yes, it's the same one.
"The exhibition will travel to Dallas, San Francisco, Madrid and Rotterdam." (as according to the JPG website).

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26-07-2011
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Here's an article from last month:

Quote:
Taming a Provocateur
A Jean Paul Gaultier retrospective spans cone bras, corsets—and feminist politics.




Fashion designers find inspiration in a variety of places: classical paintings, the beats of an audacious musician, or the eccentricities of a friend-cum-muse. Almost all designers, however, claim to have been inspired by the streets. But only Jean Paul Gaultier, who debuts his fall haute couture collection July 6 in Paris, regularly gives the messy realities of daily life unfettered access to his runway. Tattoo body art, Hasidic Jewish traditions, the noble turbans of African immigrants, and the retro-cool of Harlem have all moved the French designer.

He championed nontraditional beauties—with Modigliani faces, Cyrano de Bergerac noses, Rubenesque bodies—long before Dove’s “Real Beauty” ad campaign. He put plus-size ladies on his runway before the Internet’s self-proclaimed “fat-shionistas” voiced righteous indignation at being marginalized by the frock trade.

The unique and far-reaching cultural resonance of his work is on display in The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, an exhibition that opened June 17 at the Montreal Museum of Fine Arts and runs through Oct. 2. (It later travels to the Dallas Museum of Art and San Francisco’s de Young Museum.) The Gaultier exhibition follows the well-received Alexander McQueen retrospective at the Metropolitan Museum of Art in New York. And while comparison is inevitable between these two highly skilled designers, each of whom delighted in leaving an audience agitated and unnerved, it would be unfair. McQueen looked inward—guided by his own dark thoughts, painful insecurities, and obsessions. Gaultier looks outward at the swirl of life that engulfs him. And he is fully and optimistically engaged with it.

Gaultier “shows us a society in which we’d like to live—one that’s tolerant in ways that go beyond fashion,” said museum director Nathalie Bondil at the exhibition’s opening.

Through his work, we learn less about Gaultier and more about the times and circumstances in which we all live. He delineates the place religious fervor occupies within modern cities but holds fast to the belief that religious attire, while a symbol of devotion, is ultimately just so much cotton and wool—no more and no less sacred than any other garment. Is he right? At a time when a head wrap, a robe, a veil have taken on such weighted meaning, Gaultier’s Hasidic collection from 1993 is another entry point for asking difficult questions about faith, propriety, and modern life.

The most casual pop-culture observer will recognize his collaborative efforts with Madonna through the 1990s, when he transformed cone bras into an aesthetic expression, a feminist protest, and a sexual provocation. Gaultier’s interest in the transformative powers of lingerie reaches back to his childhood. As evidence, the exhibition includes a matted teddy bear onto which the young Gaultier had stitched a rudimentary little brassiere. (As a boy, he was either a design savant or quite an odd duck—perhaps both.) His exquisitely constructed and shape-shifting corsets on exhibit continue to be relevant as we struggle with our definitions of female beauty.

Gaultier’s multicultural inspiration, which spans the entire breadth of his career, beginning in 1976, reminds us of the beauty of cultural diversity. But his kitschy love affair with French cultural icons—from the cancan and the Eiffel Tower to his famous patron, Catherine Deneuve—mark him as a nationalist. In the frothy realm of fashion, no other designer is so devoted to exploring the links between aesthetics, populations, and politics.

Gaultier’s career has spanned three decades, during which he has been a rebel as well as a member of the establishment, spending seven years as creative director of Hermès—a position he left in 2010. He has created costumes for film and stage, but his work rarely makes an appearance on the red carpet. Perhaps it’s just too fraught with meaning.

At 59, Gaultier has been adamant that this exhibition is not a retrospective, not a final bow. But it’s hard not to look at the more than 100 ensembles, along with photographs and film clips, and not wonder if Gaultier’s most volatile, most searing, work is behind him. In recent seasons, he has mocked the industry’s fat phobia and the foibles of the bourgeoisie—lightweight topics from a man who once challenged the veracity of gender roles.

But perhaps age brings a certain calm. The designer’s work no longer shouts and shocks. At this career midpoint, Gaultier only asks for our thoughtful consideration. And suggests that everyone—from the immigrant to the religiously devout to the middle-class striver—deserves the same.
http://www.newsweek.com/2011/06/26/j...ospective.html

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29-07-2011
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gorgeous gown on Alek

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