Jean Paul Gaultier Couture Fall 2011/12

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Jean Paul Gaultier continued to ring the changes on the iconic pieces that he loves. Trench coats were reenvisioned in liquid jersey, draped like the magnificent Madame Gres dresses currently on display at the Musée Bourdelle, and his biker jackets were transformed into masterpieces of elegantly tailored sobriety.

The hypnotic instructions of a ballet mistress and a ballett master to their classes, and the demand of the demonic choreographer in Black Swan to his hapless ballerina to embody thze qualities of both the Black Swan and the White Swan, at the Opening of Jean Paul Gaultier's show, signaled the designer's intention to explore a dark side of the fairy-tale world of tutus and feathered headdresses.





The jacket of his opening number - cut like a trench over a suave pantsuit - was given an explosion of tutu ruffles to createa bustled peplum, and romantic ballet-length skirts in sturdy tweeds had the unexpected embellishment of feathers at the at the hem that evoked the headdresses of ballet's traditional swans. Gaultier used feathers with the great imagination throughout the collections - tufts of multicolored marabou simulating camouflage prints or an Icelandic sweater; a feathered cockerel embellishing the sleeve of a black evening coat; and the bands of iridescent pheasant plumes streaking a full tulle skirt - with a bodice elaborately embroidered to simulate those feathers.

Jean Paul Gaultier Haute Couture Fall 2011/12

Source: Vogue

Photography by Yannis Vlamos/GoRunway

The whole JPG-Haute Couture Fall 2011/12 collection on my Facebook-page 

Enjoy my blog-post 
'Jean Paul Gaultier Haute Couture Spring/Summer 2011' 

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Jean Paul Gaultier Haute Couture SS 2011

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British punk meets Paris cancan

Jean Paul Gaultier took mohawks, studs, and leather jackets, married them with the girls of the Moulin Rouge, and came out with a defining triumph, soaring from grimmy guttersnipe-style to a French level of sophistication which makes the rest of the world spit.

Narrative fashion shows can be annoying these days, especially when one's considering a designer like Gaultier, with a past that wends back the eighties. But this time, his revisitings of sailor stripes - brilliant horizontal organza ruffles on Lindsey Wixson - and corsetry, now merged into both a tailcoat jacket and a cancan costume, somehow seemed simpler, more relevant, and full of energy.

A huge moment of that confidence must come from the fact that it was Gaultier who ws a pioneer in the field - by thirty years - of diversity on the runway. Now that punk (springs's discovery), and the drive toward inclusive model casting have both risen to the top of the agenda, Gaultier must be laughing, for he was doing all that a generation ago. More vitally, his women - proud, strong-nosed, ethnically diverse, from any subculture, and of any age - have always been there. That they look so exceptionally chic and grown-up today in their towering, feathered mohawks is a kind of completion for Gaultier. 

Ever the witty quipper, he skipped out at the end with Farida Khelfa, one of his original models, a mohawk taped to his pate. He looked really happy.

  

Jena Paul Gaultier Haute Couture SS 2011

Source: VOGUE

Photography by Yannis Vlamos/GoRunway

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