He introduced his new collection a few days ago. ready-to-wear and he did so by showing that he was adept at confronting concepts. judicial cyberThe collection is presented as a tribute to the spirit of the late 90’s. boom cyber, where color and fun are key. Now, in addition, Jean Paul Gaultier is holding an exhibition in Seville. cinema and fashionIt can be viewed on the CaixaForum from November 24 to March 19.
commissioned by Florence Tissot and Matthieu Orléan The exhibition is a very personal vision of the French designer.sees fashion and cinema as two communication tools, the perfect x-ray of the society of the momentshows the evolution of male and female roles. The first is more feminized, the second is strengthened. At least that’s how he sees it. scary boywhich was Pioneer in deconstructing masculinity to create new forms of expression and made sex object revolutionary and progressive concept.
Balenciaga fan and extravagant volumesThe faithful and faithful of Paco Rabanne’s surrealism Friend of Rossy de Palma, Victoria Abril or Pedro AlmodóvarJean Paul Gaultier examines the role of fashion and cinema in the evolution of fashion. A society that aims to empower womendelves into contemporary fashion and remembers becoming a designer because she fell in love with a movie. Marilyn Monroe and Brigitte Bardot are the extremes where the French designer began.Embarking on this journey in the evolution of the female role and with both actors makes it clear that the wardrobe in the cinema is much more than just aesthetics.
-Is the exhibition, which is considered a journey in the relationship between cinema and fashion, designed for movie buffs or fashion buffs?
-For both. I am a fashion and cinema lover and if I dedicate myself to this profession, it is because I discovered fashion through a movie. I watched a movie called when I was 13. eaves (Jaques Becker, 1945) tells the story of a designer that was my school and made me realize that I wanted to develop this profession. The last parade that made me fall in love with the profession. A parade is like a game and I find it fascinating. We put on a show by getting dressed. That’s why the cinema and fashion association is so strong. After all, cinema and fashion are the reflection of life and society. Both together and separately show the society as it is.
-The exhibition includes designs and costumes from movies that impressed you, did you fall in love with these movies for the plot or the costumes?
-My idea was to show the evolution of men and women through fashion and cinema. That is, the man who is becoming more and more feminine, and the woman who is becoming more and more powerful. This is the reflection of today’s society. When I started the world of fashion, we were still in the female object stage, although there were movements that started to change things. man with male, a little more feminine and the woman has become stronger. I developed this idea in my collections and this is what I want to show in this exhibition now. You can see this evolution very clearly through movies and clothes. I always like to give this example. Men’s jackets have always had an inside pocket where the wallet is kept for payment. She didn’t have that pocket on her clothes because she didn’t pay. These are details, but they show that the garment is already gendered, has a gender. Now men and women are changing and this is reflected in the clothes they wear.
– If we examine the wardrobe of Marilyn Monroe and Brigitte Bardot, the first became hypersexual, the second liberated. When will the cinema change this scenario?
An excellent example. Marilyn was a victim of Hollywood, of the system, and Brigitte Bardot was a free woman who showed this through her clothing. Marilyn fell victim to an industry where you had to be sexy and were manipulated by the producers. Brigitte Bardot, on the other hand, moved freely, deciding for herself which actors she would work with. I recently watched an interview three intellectuals gave to him in the 70s, and it’s incredible to see how he talks, how he expresses himself, how he acts. He is very well educated, very calm, expresses himself very well, expresses his opinions on different subjects and is the silent state of the three intellectuals next to him. She made a movie because she liked it, then she said I quit and she left to pursue other things. She was way ahead of her time. They played Marilyn, she she she she a victim. She was a beautiful girl, but she wasn’t stupid. She belonged to a system where she had to say yes, or it would be all over, she.
– This liberating aspect of Brigitte Bardot is also evident in her clothes.
– Definitely. She married in a blue vichy dress, in a very poor fabric. Her hair was straightened by herself, the ballerinas she wore were cut so that the heads of her fingers were visible, as if they were her neckline. There is an amazing display in the exhibition. Featured on Brigitte Bardot And God created woman.. She is seen dancing, sweating… She’s beautiful, but she’s not trying to be perfect. We see her sweating, something we don’t normally see because they had tried to show a woman before. perfect and flaunts like a wild woman. It was a scandal, it created a scandal through freedom.
-This is disgust, especially when women watch movies and observe that there is another female model they can identify with, right?
– In Bardot’s case, there was a whole generation of women, both young and old, who wanted to emulate him. She was a model for a woman, as Madonna was many years later. Both were fashion pioneers, and both did so with an incredible sense of aesthetic. With their outfits, their concerts, they showed that they have the power to change things when it comes to Madonna. Both became muses of new generations.
-Speaking of Madonna… We must remember her iconic corset and even Victoria Abril’s wardrobe. kika. Is this violation of the past with the dictatorship of political correctness now impossible?
I don’t know if I would have done what I did then. I would like to point out that the corset is not an erotic thing for me, it is an armor that plays with provocation. A provocation that the woman decided to do voluntarily, not because she had to. Now provocation is resorted to without persuasion, just for the pleasure of protesting. It is also a fact that now there is a little more fear when saying something, it is necessary to be careful. Our time is actually not so provocative, it corresponds to a fact. I don’t think you need to give advice because of course you will continue to surprise and provoke.
-What do you want to convey while dressing now? What to say in these forty years of fashion in the 20s?
-I think we don’t need to worry, things will be done automatically according to what is happening in society. Society moves, it changes. There are small social revolutions and we will see the result in clothes, in clothes. It is not the fashion that will change the society, but the society that will change the fashion. The punk movement was not punk fashion, the British rebels who were punks were punks because they wanted to say something, and this was reflected in their aesthetics, in their music… It will be fashionable, but I don’t know in what way. It is impossible to say anything because let’s not call it a mutation, chaos anymore. In addition, we will now produce virtual clothes with the internet. I don’t belong to that generation, but maybe that’s evolution. We are now in a period of quest, and society will decide that.
-Is the flamenco dress the perfect definition of female empowerment in the way she dresses, that will let me sweep the ground?
– I love the flamenco dress. I love floral designs that are very body drawn, very tight, with frills and then scallops. Absolutely gorgeous. I think it’s a very beautiful dress and it really shows a very strong femininity in my dresses that impresses me. Actually, my corsets are on the line that draws the woman’s body. I think this is great. Madonna should have worn a dress like this in the music video. beautiful island. A body-defining and ruffled design would have suited her style much better. The extraordinary thing is that this hyper sexy dress is the exact opposite of an object woman representation. It represents a strong, energetic woman.
-What would a flamenco dress by Jean Paul Gaultier look like?
-I’ve already done it! Now I would make a corset-style dress up to the knee, put a very long train like tulle and carry a fan at the end. When he picked up the fan, he may have gathered his tail and approached the woman.
– On the Rosalía tour, Lina did something similar with the bata de cola.
– I love it. She’s brilliant, knows how to interpret code wonderfully, and has a great fashion sense. I almost designed her a dress for the Met Gala, it couldn’t be because of the pandemic, but I will.
– She admired Balenciaga and the wedding dress she made for Queen Fabiola of Belgium inspired her design for the teddy bear…
-First I made her conical breasts, then I did heart surgery. She made the bear experience everything that happened, she was the fashion. When Balenciaga made a dress for Queen Fabiola, I did something similar for my bear so she could marry too, she. I’ve always had a great admiration for his work, he was an old-fashioned designer, a craftsman. Its extraordinary volumes, its extravagance are iconic. Speaking of Spanish designers, I also admire Paco Rabanne a lot. He was a genius, a touchstone, a great character, very surreal. Chanel hated her, which means she’s really pissed off.
He saw his first bullfight in Seville, spent his summers in the Basque Country and is aware that the aesthetic of the seventies is part of his creative universe. Does immersion in Spain and its features reflect your character?
-When I was a kid, lights were something unusual for me. I went with my grandfather even though he didn’t go to the square because he didn’t like me going to the bullfights. I loved when the bullfighters came out in bullfighter costumes, with background music… It was an incredible source of inspiration. I once made a suit out of lights but it was made of clear plastic and had metallic plant embroidery. The bullfighter costume is very important to me, just like the flamenco costume, it is fascinating. I came to Spain on vacation when I was little and it was a great year. Long live Spanish holidays! Spain is also a very creative and cheerful country. Spain is a very friendly country and this is a very important thing.
-Maybe the sun has an effect on this joy you’re talking about…
-Yes. There are so many positive people here. It’s normal, the more sun, the more joy. I am a close friend of Rossy de Palma, Almodóvar, Victoria Abril… Extraordinary people, extraordinary women. In France they adore them and there they are like a kind of ambassador of Spain. Victoria Abril shoots a lot of movies in France, we love her.
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