1991

JEAN PAUL GAULTIER: WOMAN AS AN AESTHETIC SHOCK

Jean Paul Gaultier embodies a captivating phenomenon within both the fashion industry and the wider media landscape. Primarily, he is a fashion designer, but he also acts as a creative force across various media and disciplines. Jean Paul Gaultier stands for not only a fashion brand but also a 'persona” with multiple creative facets. 
The JPG brand dates back to the rise of punk, specifically to 1977. In fact, its initial aesthetic and stylistic influences are heavily inspired by the London street style of the late ’70s. 
Several striking collections, witty details, and accessories, also featured in The Face magazine in the early ‘80s, propelled him among the up-and-coming stars of the fashion world. Playing the role of an incorrigible Enfant terrible, with a strong dose of self-ironic Frenchness, irreverence, and humour, he positioned himself throughout the entire decade of the ’80s on the cusp of the Paris fashion scene. 
In the late ‘80s, Perestroika emerged on the world stage, and the Cyrillic alphabet, uniforms, epaulettes, and all other elements of communist iconography were in vogue... Gaultier was among the first to draw inspiration from the exotic aesthetics of the Eastern Bloc that was opening up at that time.
Even more provocative than tapping into communist anti-fashion iconography in the late ‘80s, Gaultier makes his statement by deconstructing the underwear of previous centuries and decades. Corsets, bodices, busks, and crinolines enter a new dimension: that of external clothing. He uses these items that alter the anatomy and morphology of the female body, but also modifies the female body features, reintroducing the “bullet” bra - an iconic item of the ‘50s. 
Hyper-feminine, overly sexualised, and intimate vestimentary items are crossed with a classy male suit, another Gaultier’s object of fascination. 
The Fall/Winter collection of 1990/91 was inspired by modern art. Specifically, it showcased the classic design of a man's striped suit, with an expressive splash of colour, reminiscent of Jackson Pollock’s dripping on a “dress-for-success” business uniform. 
Two opposite, but still very “macho” symbols, superimposed on the body of a female model. 

If a fashion designer could have their own “symbol”, Gaultier’s would be scissors. 
Scissors divide, separate, and cut into the pieces, which a designer then puts back together. Patching fragments with strong and opposite meanings, he creates unity and harmony. 
In Gaultier, there are always two poles... analysis and synthesis... Two opposite inspirations combined and tailored into one collection... That is the code which makes JPG look so recognisable. Ant to be a good designer means being able to create something different each season, and remain always recognisable. 
Through this principle, he creates a woman who balances between the street and the stage, slack and glamour. She is an aesthetic shock.
This postmodern approach is also reflected in the interior design of his first historic boutique in Paris, co-designed with French architect Marcel Maras. But even more than the shop, what is built on the exaggerated and exasperated union of opposites are choreographies of his fashion shows. Gaultier and his team make special efforts so that the performance outgrows conventional schemes. Pronounced theatricality, choice of mannequins (often his own friends and collaborators), scene organisation, and other effects... they bring the whole show to a new level, they create a new experience...
Jean Paul Gaultier himself participates in the projects of other authors working within different media, such as film and music.
He teamed up with Peter Greenaway to create extraordinary costumes for the film “The Cook, The Thief, His Wife & Her Lover” from 1989.
He also collaborated with many musicians and designed looks seen on MTV associated with singers Jody Watley, Nina Hagen, Rita Mitsuko, and bands like Black Box, Adventures of Stevie V., Niagara, and others. 
Indeed, the most spectacular is his collaboration with Madonna and her costumes for the “Blond Ambition” tour.

Back in the ‘60s, Andy Warhol transformed the image of the artist from that of the bohemian outsider who lives within his fictitious freedom into a pop star who possesses enormous media power.
Such a transformation also occurred in the world of fashion, specifically in the image of its designers. Now, during this crisis era of fin de siècle, some fashion designers have become genuine cultural icons and hold an increasingly significant importance and increasing power, which manifests itself in different ways. 
One of them is connected with the process of historicising one's work, through exhibitions, presentations, and monographs.
In 1990, Jean Paul Gaultier published the book “A Nous Deux la mode” in collaboration with the French photographer duo Pierre et Gilles. Naturally, the book offers a pop version of everything presented by the fashion establishment. Specifically, the story was told through a photo comic format, narrating how little Jean Paul became a big Gaultier. 
At the end of the book, we are invited to attend the fall-winter 90/91 collection show, and we are part of the “Gaultier + Fashion” happy family scenario, in his little Montmartre.
J.P. Gaultier got involved in music with the song “How to do that”, a hit accompanied by fantastically effective video directed by Jean-Baptiste Mondino, who also did clips for David Bowie, Sting, Neneh Cherry, Prince, Tom Waits, and again, Madonna with her “Justify My Love”. 
Once again, Jean Paul Gaultier and fashion design are viewed through a kaleidoscope of media.
What is next?

Published in the summer issue of the DIVA magazine, Belgrade