Jean Paul Gaultier Haute Couture F/W 2022.23 Paris

[Cocteau Stone]

^^^ Besides Haider— who would undoubtedly rely less on the kitschy and camp costume-y side of Gaultier that I’ve become less and less tolerant of, and likely favour the more tailored, and even strict, classic bourgeoisie component of Gaultier that I adore, I’d love to see classic American minimalists like Narciso and Calvin (coming out of retirement) to offer their brand of clean, tailored direction to Gaultier. There’s quite a bit of Tom’s signatures starting with his Gucci that aligns so well with Gaultier’s classic, and more conservative sensibilities: The knee-length pencil skirt and dress; the corseted fishtail gown; the dramatic trench; the old-money classic exotic skins etc etc. HIs Gucci A/W 2003 is very Gaultier at Hermes. (Less of Tom’s campy side would be appreciated—not just for Gaultier, but for his own line as well.)

But going by Gaultier’s own Couture offerings from his last collections, even he himself was offering more and more kitsch and high camp (with that farewell show being the worst of Gaultier tropes, frankly). I assume that’s the demand of his clientele (and client). And that seems to be the trajectory of this collaborative project. Unfortunate for those of us that have always preferred his more classic sartorial side— like his Hermes.

I’ll happily wait patiently for the moment a designer references Gaultier’s spring 2003 or fall 2001 when they take this collaborative position. It’s always a testament to a designer’s skill on how they can work with the bourgeoise silhouette in terms of cut, mood and of course desire. Some of Gaultier’s best use of colour in these kind of collections too!

 

[Lola701]

^^^ Besides Haider— who would undoubtedly rely less on the kitschy and camp costume-y side of Gaultier that I’ve become less and less tolerant of, and likely favour the more tailored, and even strict, classic bourgeoisie component of Gaultier that I adore, I’d love to see classic American minimalists like Narciso and Calvin (coming out of retirement) to offer their brand of clean, tailored direction to Gaultier. There’s quite a bit of Tom’s signatures starting with his Gucci that aligns so well with Gaultier’s classic, and more conservative sensibilities: The knee-length pencil skirt and dress; the corseted fishtail gown; the dramatic trench; the old-money classic exotic skins etc etc. HIs Gucci A/W 2003 is very Gaultier at Hermes. (Less of Tom’s campy side would be appreciated—not just for Gaultier, but for his own line as well.)

But going by Gaultier’s own Couture offerings from his last collections, even he himself was offering more and more kitsch and high camp (with that farewell show being the worst of Gaultier tropes, frankly). I assume that’s the demand of his clientele (and client). And that seems to be the trajectory of this collaborative project. Unfortunate for those of us that have always preferred his more classic sartorial side— like his Hermes.

It’s funny because I only really started to appreciate Gaultier’s work in womenswear only when he started Couture. He did some great inventive things before but it was just too much maybe for me…Weirdly his work on menswear in the 80’s and 90’s was much more interesting because for me he is really the first one to do Fashion with a capital F for men.

His first five years of Couture and his work for Hermes were stellar. But it’s not pop…

People like pop things, they like things they can associate to something more than fashion. Because they don’t really love fashion in the clothing aspect.

Gianni Versace is one. The general public and the brand likes to remember the same old collections from the 90’s but his work in the 80’s was exceptional!

It’s the same with Karl, John, Tom and even Donatella. There are a handful of designers whose work, is seen almost in a superficial way by the general public. Chanel spring 1995 is maybe fun to watch but I prefer Winter 1998. Gucci 1995 is exhausting I would rather take Gucci 2001. Versace 2005 will never be greater than Fall 2008…

I think that only people like Helmut, Martin or even Hedi have forced people to really judge and appreciate their entire body of work. And that’s because they left (more than once) at some point.

Someone like Rick Owens is having his JPG moment right now. The boots and ridiculousness of the Rick aesthetic right now will probably be seen in the future as « iconic ».

 

[bszp]

Really bad.

 

[LadyJunon]

It’s funny because I only really started to appreciate Gaultier’s work in womenswear only when he started Couture. He did some great inventive things before but it was just too much maybe for me…Weirdly his work on menswear in the 80’s and 90’s was much more interesting because for me he is really the first one to do Fashion with a capital F for men.

His first five years of Couture and his work for Hermes were stellar. But it’s not pop…

People like pop things, they like things they can associate to something more than fashion. Because they don’t really love fashion in the clothing aspect.

Gianni Versace is one. The general public and the brand likes to remember the same old collections from the 90’s but his work in the 80’s was exceptional!

It’s the same with Karl, John, Tom and even Donatella. There are a handful of designers whose work, is seen almost in a superficial way by the general public. Chanel spring 1995 is maybe fun to watch but I prefer Winter 1998. Gucci 1995 is exhausting I would rather take Gucci 2001. Versace 2005 will never be greater than Fall 2008…

I think that only people like Helmut, Martin or even Hedi have forced people to really judge and appreciate their entire body of work. And that’s because they left (more than once) at some point.

Someone like Rick Owens is having his JPG moment right now. The boots and ridiculousness of the Rick aesthetic right now will probably be seen in the future as « iconic ».

In all honesty, the merit in fashion is loudness and "rebellion". Gaultier's iconic moments (and others like Galliano, Margiela, Rick, etc.) most remembered moments are his loudest, but not necessarily his best. Fashion today may see the loudness, but ignore the nuance behind it.

That's the imperceptible glass ceiling that separates fourth and fifth generation designers (late 60s - early 10s) from sixth generation designers (mid 10s and onwards)