The Fashion World of Jean Paul Gaultier - review

An extraordinary exhibition goes that far beyond the cone bra.

He needs no introduction. But he certainly deserves your attention. He’s the clothier credited with the cone bra and the man skirt, with radicalizing the looks of Madonna and Kylie Minogue, with putting street style on the catwalk, with making neoprene sexy. And from 2011 to 2013, the renowned French fashion designer has his first retrospective exhibition traveling the globe from Canada to the Netherlands. Originating at the Montreal Museum of Fine Arts, I managed to catch up with the show in San Francisco last week, where the de Young Museum plays third host to the couture circus.

The designer has been dubbed the fashion world’s “enfant terrible” since his catwalk debut in 1976, and The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk is a fitting hurly burly bonanza of extraordinary garments:  140 ensembles from the past 35 years of his couture and ready-to-wear collections. It’s a well-orchestrated free-for-all of pointy breasts and sci-fi silhouettes, plus a healthy lashing of showstoppers: Madonna’s cone-bra bustier worn on her Blonde Ambition tour in 1990, a black-diamond skeleton corset worn by Dita Von Teese in 2010.

The exhibition also features state-of-the-art digital content, including “living mannequins” - 3D holographic faces projected onto dressforms, defying the inherently static quality that pervades most fashion showrooms. Mannequins directly address and even sing for the audience. It’s both amusing and unnerving - the sort of combination Gaultier adores. One gets the sense they're a small part of a big joke.

Raucous and experimental both in form and content, I’m likely to call this the most blithely divine fashion show you’ll catch in the near future. But then I’m incredibly biased. Let me explain.

I first encountered Jean Paul on a boat ride to Dieppe when I was nine years old. It was summer, 1997, and my family had made the annual pilgrimage from our home in San Francisco to my grandparents’ in Sussex. My parents decided my sister and I had reached an age of maturity that meant we could nip across the channel to see what they called “the French way of life”. We had not reached the age of maturity that meant we could sit still for what was then a seven-hour ferry journey. My father, delegated with finding suitable distractions, announced we would be attending the vessel’s onboard cinema, little more than a few folding chairs facing a pull-down screen. Showing was a new sci-fi film with a gawp-worthy PG-13 rating. But the sweet promise of childcare relief must have usurped my father’s moral gripes, and in we went to see Luc Besson’s The Fifth Element, a film for which – I later learned - Jean Paul Gaultier had designed and produced over 900 costumes.

It would only be slight hyperbole to say my life was changed that day. After having my tender mind blown by this two hour glam-punk sexed-up space-fest (mainly involving flying car chase scenes and Gary Oldman losing his cool), I came away with a few hard facts. First, Bruce Willis will always be the baddest man in the room, even in a backless tank-top. Second, orange hair and matching jockstrap are not mutually exclusive to sexiness. Third, the right man can wear a leopard print jumpsuit and still seduce. I gave Gaultier all the credit. Outlandish, impractical, and utterly provocative, his costumes spun a visual narrative that stuck in the mind better than any action sequence or nuanced dialogue. In short he proved – more decisively than any, I argue – that it’s clothes which take a individual from memorable to legendary.

So you’ve been warned – I’m a devotee upon arrival. Walking through this show a decade and a half after my formative encounter, I find myself wondering if childhood was perhaps the best time to fall for Gaultier, seeing as it’s his playful design ethos and irreverence for sartorial authority that have made his work so appealing and enduring.

It’s this youthful spirit that Sidewalk to Catwalk grabs by the throat. Arranged chronologically, its six thematic sections are a bold, episodic recount of a mature designer who, like a perpetual teenager, has continually fought tooth and nail against the grain of normative fashion.

Gaultier never studied design in an academic context. Rather, after a fervent adolescent interest in fashion, he came under the tutelage of legendary avant-garde dressmaker Pierre Cardin. The exhibition’s opening room – dubbed "The Odyssey of Jean Paul Gaultier" – is an exploration of early motifs which were to become signature styles: Breton stripes, theatrical materials and kinky, androgynous cuts. His years as an assistant in the Cardin studio, famed for its quirky silhouettes and exquisite tailoring, are apparent in Gaultier’s own early attempts at subversion. Though crude (his solution for making the classic sailor sweater more “sexy” was simply to cut out the back) each piece retains the kind of singular vision that makes for sophistication.  His “Lascer” dress, a nautical columnar gown with a base of stretchy blue/white knit and elaborate feather appliqués on the skirt (it took 160 hours to hand sew), was worn by Princess Caroline of Monaco in 2000. It’s the sort of ultimate testament to his tireless gift for fusing the unconventional and the refined.

Gaultier has made a career of shaking up societal preconceptions of dress and of the fashion industry itself. He’s a man who states his personal work themes as “equality, diversity, and perversity”. His early catwalk shows earned attention for their use of nudity, cross-dressing and atypical models (he famously ran an ad in the classifieds that read: “Non-conformist designer seeks unusual models – the conventionally pretty need not apply”). His most recent collection for Paris Fashion Week, an homage to the late Amy Winehouse, was declared by some to be “in bad taste”. But Gaultier is the sort of designer who would rather take risks – and risk causing offence – than play it safe.

Sidewalk to Catwalk embraces all of this transgression. Rooms two and three – titled "The Boudoir" and "Skin Deep" – explore a fluid vision of sexuality through exquisitely constructed corsetry for both men and women. Cone bras abound, while a talking male mannequin wearing crystal-studded dress shoes and a lace jumpsuit faces a mirror, questioning his simultaneous desire/fear to dress extravagantly.

The following "Urban Jungle" is a clash of multicultural influences, highlighting thirty years of Gaultier’s collections named for the civilization that inspired it. The Hussars Collection, The Samurai Collection, The Spain Collection, The Russia Collection, The China Collection, The Africa Collection, The Chic Rabbi Collection (no joke) – each playfully engage with well known tropes of dress (Russian furs, African masks, Japanese kimono) while subverting them with inventive materials (life-like animal skin constructed from beads, raffia placemats turned into crop-tops). Once again it’s a vertiginous, extravagant aesthetic that pulses throughout. One could call it over-the-top, if it were not so skillful. Gaultier’s expertise as a couture dress maker is undeniable. Catherine Deneuve, a longtime fan, once put it well: “He can allow himself many flights of fancy because the basic structure of the garment is always impeccable. No one comes closer to the chic modernity of Chanel and St. Laurent.”

It’s a quick stop at the full-sized moving catwalk before I round the bend to the eagerly awaited "Metropolis", the final room which explores Gaultier’s work with film directors Luc Besson and Pedro Almodovar. His costumes (and some behind-the-scenes screen tests) from The Fifth Element make their due appearance and I’m embarrassingly giddy. The child in me longs to reach out and touch. But here at the exhibition’s conclusion, amongst such a showing from such a brilliant oeuvre, the garments' status as costume becomes more ambiguous. This amalgamation of Gaultier’s brilliance proves that all dress is a form of costume; whether for the screen, for the catwalk, for the street, for life. Sidewalk to Caltwalk declares clothing an extension of the self: our sexuality, our opinions; a means to invite power, responses, revolutions, laughter. It’s this ballsy proclamation which makes Gaultier not just memorable, but legendary.

  • The Fashion World of Jean Paul Gaultier: From Sidewalk to Catwalk is at the de Young Museum in San Francisco until 15 August. The show will then travel to  Fundación Mapfre — Instituto de Cultura, Madrid (26 September – 18 November, 2012), followed by Kunsthal Rotterdam, the Netherlands (9 February – 12 May, 2013)
Haute couture designs of Jean Paul Gaultier. Photo credit: Andrew Fox

Charlotte Simmonds is a writer and blogger living in London. She was formerly an editorial assistant at the New Statesman. You can follow her on Twitter @thesmallgalleon.

Photo: Getty
Show Hide image

Oliver Stone on interviewing Vladimir Putin: "There are two sides to every story"

The director says his conversations with the Russian president, like all of his works, speak for themselves.

“You’re going to start with this blogging bullshit?” Oliver Stone raises his voice at a reporter, a look of fury on his face.

The director has been asked about the veracity of a video shown to him by the Russian president in his recent Showtime series, The Putin Interviews. The hapless Norwegian journalist who is asking the question notes that bloggers have taken exception to the footage’s true provenance.

What bloggers think of Stone's work, however, is clearly of no consequence to him. When another journalist asks if he’s afraid to be seen as Vladimir Putin’s "PR guy", though, he erupts. 

“Do you really think I’m going to go and spend two years of my life doing a tourist guide book? You really think I’m that kind of a filmmaker? Do you have no respect for my work?”

Stone is on fiery form at Starmus science and music festival in Trondheim, Norway. His series on Putin was filmed over two years. The final four hours of footage were cut from an original 19 of recorded interviews, which covered such diverse topics as “Russia in the 1990s and the 2000s, the American expansion of Nato, the American support of terrorism in Central Asia, Syria from his point of view, Ukraine, nuclear arms…”

Critics, however, have termed it a hagiography, and argued it offers Putin a deferential platform to share his view. Others have dismissed Stone as a propaganda poodle. 

Stone counters the criticism: “I researched it, I did the best I could, and I think it proves the old adage that there are two sides to every story.”

Whether because of naivety or professional courtesy, on the face of it, in the interview series the 70-year-old appears to buy into everything Putin tells him. "You catch more flies with honey than with vinegar," is all he'll say at the conference.

Later on, in the calm after the storm, we speak alone. “This was a special deal,” he tells me. “He was very congenial and articulate and willing to talk. He grabbed the moment.

“People need to keep something in mind. They said I was soft on him - that’s nonsense.

“You can’t have an interview where you’re asking hostile questions. He would have just tolerated it and said what he did, and then after that first interview he would have not have done a second or a third.

“I was interested in the long view. Nobody in the West has gone that far with him that I have seen.”

The long view is a speciality of Stone’s, as he reveals with his address at Starmus to a packed auditorium. As befits a science festival, he addresses the development of the atomic bomb and the modern digital arms race of cyber warfare.

In his view, “politics invariably gets a stranglehold on science and takes it in the wrong way”. He cites J Robert Oppenheimer, known as the father of the nuclear bomb, and computer analyst Edward Snowden’s life following his decision to turn whistleblower. 

Stone directed the film Snowden, a task which involved navigating numerous obstacles, including gaining access to the real Snowden, by then in Russia, himself. 

“Science gets slaughtered by politics,” he tells me.

In the shadow of the criticism on the Putin front, he admits that from an American perspective, for him to become involved with Snowden was, well… “beyond the pale". 

But despite – or perhaps because of – the Academy Award-winning director’s commitment to the truth, he’s not letting go of various facts as he sees them.

“There is no evidence as far as I’m concerned for the Russian hacking allegations,” he says, adding that this was an “assessment” from the US security services which turned into a “farce”.

He has read the detail for himself, he says – and he also appears on film looking like he believes Putin when the president says it’s nothing to do with him.

Back at home, the American domestic political situation has him as appalled as ever. He is critical, not only of Donald Trump, but the system the US president operates in. 

“It seems that the president does not have the power he thinks he has," he says. "You get elected, you think it’s a democracy, but there is this mechanism inside, this Deep State – intelligence agencies, military industrial, the generals, the Pentagon, CIA combined with other intel – which seems to have some kind of inner lock.”

Although Stone places characters at the heart of many of his films, he finds Trump hard to figure out.

“I don’t know what Trump’s mind is like, I think so few people do," he muses. "He says super-patriotic things suddenly like 'I love the CIA, I’m going to really support you, I love the military, I love generals, I love all that beautiful new equipment' – that he sold to Saudi Arabia.

“He also said, and it’s very disturbing, ‘the next war, we’re going to win’. As if you can win a war where you use cyber and nuclear and various weapons. He’s thinking this is a game like a child.

“The purpose of war is not to have one.”

Stone believes – as Trump initially seemed to profess – that Russia will be the chief ally in future for the United States: “They can be great partners in every walk of life, it’s crazy to have them as an enemy."

Nevertheless, he is not as slavish to the official Russian line as many have countenanced.

“I was able to shoot this documentary because of my reputation," he says. Some people say he pulled his punches, I counter.

“Gloves off, gloves on – the truth is, he sees things his way," Stone says. "I’m not there to change his mind, I’m there to show his mind.”

In his view, an observant watcher will learn about Putin just by watching him. "The camera doesn’t lie – the camera tells you things, body language, eyes – you can get a feel sometimes," he says. "I think if you watch all four hours you’ll see that we got an enormous amount of information."

Perhaps those who sit through those four hours will be satisfied that they know more about Putin – or about Stone himself. After all, if the camera doesn't lie, it doesn't lie for anyone.

As I leave the room, Stone raises his voice after me: “Don’t change my words.” He’s smiling broadly as he speaks.

Kirstie McCrum is a freelance journalist. Follow her @kirstiemccrum.

0800 7318496