The invitation safety-pinned a piece of fishnet to a piece of cardboard. The run of show named outfits after "Anarchy in the U.K." and "London Calling." And that was Sid's "My Way" playing as we walked in. All held the promise that Jean Paul Gaultier would parade punk couture, hardly a new idea for him, and not exactly a thrilling prospect for us, especially given that the designer has been going through a dry spell of late. But something magical happened on Gaultier's catwalk today. A living legend got his mojo back. Maybe the split with Hermès fired him up, maybe his upcoming career retrospective in Montreal got him thinking about his greatest bits. Whatever, it worked.
As far as the punk theme went, there were elaborate Mohawk hairdos (tulle cascaded from the bride's at the finale), the odd dog collar, and some cropped bomber jackets. One of them was crusted with metal pearls. Another, gracing an outfit named "Vicious," was indeed decorated with chains and studs, but it was draped over a black crepe sheath with a flounce of tulle. The ripped 'n' torn aesthetic was in full effect with an ensemble that featured a raggedy beaded top and a silk skirt falling to pieces. (Dégradé is couture's take on punk.) And, at a very glamorous pinch, the perforated black leather jacket and skirt fit the theme, but what his punk starting point really bestowed on this collection was rigor and focus.
Gaultier has always been a brilliant tailor, and here he applied his genius to a pinstripe jumpsuit and matching jacket; a white suit with a corseted torso and ruching rounding out the hips; a gown that used almost straitjacketlike straps to make its sensually tense point; and a tuxlike pantsuit—with frog closing—in an organza covered with passementerie. That last item was the sort of thing you'd only see at a couture show—and probably only this one, to boot.
Something else Gaultier has always been—the most Parisian of designers. A cancan froth of silk tulle ruffles peaked out here and there before finally erupting into a full-on, high-kicking finale, courtesy of Psykko Tico, from the Crazy Horse. Gaultier revisited his favorite alt-Parisienne, the concierge, in a printed mousseline jumpsuit wrapped in a long cardigan in a similar print. And his signature piece—the trench—gained a new length, lost a shoulder, and came up rose-colored. He called this outfit "I Am an Anarchist." But only in a world where ugliness rules.
This is by far his best collection in years despite the fact that it's not quite on par with his absolute best work. It's nice to see him make actual clothes as opposed to kitschy costumes based on cheesy themes. I mean the punk thing on it's own would have been completely trite, but I actually think it was used pretty well in this case. I'm kind of past hoping that he'll return to the level of greatness he reached back in the early part of the last decade, but I'll take something that's almost great over the stuff he's been doing.
You need to move fashion forward when there's a reason to move fashion forward - Tom Ford
JPG does it once again!!!!
You can see the quality and work required for every outfit. When the mohawk gives an insane feelling to the outfits, they all scream refinement and elegance.
As usual the tailoring is impeccable, the casting is great and the shoes are TDF.
"Quality will be remembered long after price has been forgotten".Aldo Gucci.
gaultier really knows how to cut a sharp silhouette...
i love how strong his women always are...
this is a joy to behold...
some things are a bit off for me...the stirrups, for example...
i tend to agree with this. jean-paul gaultier NEVER disappoints when it comes to delivering a powerful silhouette. unfortunately, jean-paul gaultier does not seem to have evolved with the times the way the other major couture houses -- notably dior, chanel, and givenchy this season -- have managed. this age of austerity has taught us that many times -- even in high end luxury -- less is more. i would have preferred jean-paul gaultier have distilled his vision into a few precise looks than jumping all over the place. some of these looks -- i obsess over those pants -- seriously mark the best of the couture while others look like they're straight from the archives (and perhaps should've stayed there).
everything is never quite enough.
This has some highs and lows but the first part of the show was perfect. Perfectly sharp, well cutted pieces for an aggresive woman. I wish he continued with the same idea through the whole collection... because towards the middle to the end, it seemed a little too over the place.
Still, I'm very pleased with the first part and this is the first time in aaaaages that I've been interested in a JPG collection.
PARIS — The haute couture season ended with a grand slam as Jean Paul Gaultier sent out a collection that took him from enfant terrible to couture royalty.
This move from cheek to chic did not reduce the designer’s sly wit. It just produced beautifully refined and streamlined clothes under the typically Gaultier headline of Punk Cancan.
The show really started backstage as the Spanish movie director Pedro Almodóvar and the sex-puss actress Arielle Dombasle watched a team of coiffeurs turn the models’ hair — and Mr. Gaultier’s own blond locks — into fantastic spiky Mohican ’dos.
Front of house had Catherine Deneuve, whose husky, throbbing voice announced, in the old show style, each outfit, starting with “Trench Cancan” — an impeccable belted coat in lacquered silk that opened to reveal a froufrou ruffled interior.
Before the show ended with a genuine cancan dancer from the Crazy Horse lifting her skirt to show her impossibly long legs, and with an androgynous bride, offering a soupçon of perversity, the clothes were all impeccably tailored, exquisitely decorated and absolutely wearable.
With at least half the show in black, the essence of Parisian chic, this was a collection that touched every current fashion base from pinstriped jumpsuit to mesh jacket. But Mr. Gaultier walked each idea along the tightrope of haute couture, making the complex seem so easy. So a tuxedo jacket would be abstracted to a cutaway collar; or an apparently simple mesh jacket as a patchwork of perforated leather. Whether it was an off-the-shoulder tunic rippling with pleats or the designer’s signature sailor stripes as an organza sheath, these were sophisticated clothes made with extraordinary skills.
Perhaps Mr. Gaultier’s perfect fashion pitch was activated by his break from Hermès (which still has a major investment in the house); or maybe he had been studying the archives for his first retrospective in Montreal in June. But whatever its origins, this was an exceptional and memorable collection.
It also encompassed all the codes of the designer: diversity, perversity and the hair-raising sculptures that first inspired Mr. Gaultier in the African hair salons of France 30 years ago.
“I am an anarchist” was the title of a fiery satin trench asymmetrically sliced at the neck. But even if he is still a rebel in his heart, on the runway this was a collection of spicy elegance.
While the collection is a portion of the beautiful Jean Paul's classic, the presentation is just brilliant. It was such a great move from him, right at the moment when couture is less haute each season, or let say it's not that haute in the terms of excessiveness anymore, he brings back the vibe from it's golden times. How brilliant is that?
And I just love they released a proper, full-length and detail-focused video with a original sound, not like some I-want-to-be-oh-so-exclusive designers (Yes, Tom Ford, I'm looking at you). Let me say Catherine Deneuve's voice is so perfectly enchanting