Jump to content

Madonna & Jean Paul Gaultier


XXL

Recommended Posts

"He gave her a look. She gave him a profile"

jpg_1995-12.jpg?w=370&h=

jpg_1995-2.jpg?w=1000&h=

jpg_1995-15.jpg?w=1000&h=

http://video.style.com/watch/throwback-thursdays-with-tim-blanks-madonna-hits-the-runway-at-jean-paul-gaultier

Madonna Hits the Runway at Jean Paul Gaultier

He gave her a look. She gave him a profile. Ever since the cone bra bustier the designer made for her Blond Ambition tour, Jean Paul Gaultier and Madonna have enjoyed a mutually beneficial relationship. Take for instance, Madge’s memorable walk down JPG’s Spring 1995 runway, complete with puppy dog and baby carriage.

Link to comment
Share on other sites

Just thinking about JPG today and the MDNA Vogue tour outfit and then to BAT Vogue where he said he wanted her look to be like "nude" (the black spandex). That's it. Just popped into my head driving home :dazed:

Link to comment
Share on other sites

madonna-jean-paul-gaultier-book-03.jpg

This pic I could stare at all day, esp w/ that black "Keep It Together" hair. TO DIE FOR. All these pix hold up so well, nothing "outdated" at all. This lingerie outfit is gorgeous and such a treat to discover fairly recently, 20 years after the fact. I'm guessing the outfit was altered to go for the "nude" look JPG wanted. Still it's beautiful and she looks great in it. These are pros at work, much respect.

Link to comment
Share on other sites

"Nobody can be like Madonna.
Lady Gaga does things that Madonna has already done.
Madonna is also very beautiful.
She can be a blonde, a redhead, black-haired.
Lady Gaga can’t do it."

20110521-news-madonna-jean-paul-gaultier

source: http://www.madonnarama.com/posts-en/2011/10/12/jean-paul-gaultier-nobody-is-like-madonna-not-even-lady-gaga/

Link to comment
Share on other sites

009_jean_paul_gaultier_theredlist.jpg

The very definition of FIERCE for one of the greatest concert intros the world has ever known.

lmao I'm stanning hard today but dead serious.

Link to comment
Share on other sites

"Nobody can be like Madonna.

Lady Gaga does things that Madonna has already done.

Madonna is also very beautiful.

She can be a blonde, a redhead, black-haired.

Lady Gaga can’t do it."

20110521-news-madonna-jean-paul-gaultier

source: http://www.madonnarama.com/posts-en/2011/10/12/jean-paul-gaultier-nobody-is-like-madonna-not-even-lady-gaga/

Seek help dude.

Link to comment
Share on other sites

I went to see the JPG exhibit at the Brooklyn Museum this weekend. I was surprised at how big it was. And there were all these creepy mannequins with projections of moving faces on them, some of them singing like choirs. Very "neat." And so much of it was Madonna-related. Pieces from Blond Ambition, Confessions Tour, MDNA, the topless dress she wore during the '92 runway show, a video of the '94 runway show with the baby carriage. It was practically a Madonna exhibit. Go see it if you're near NYC.

My friend and I were discussing this: Did JPG design the pantsuit/dress she wore in the DWT?

Link to comment
Share on other sites

JEAN PAUL GAULTIER: DIFFERENT EEEZ FAB-OO-LUSS!

gaultier-001.jpg?_=1386014919669

http://www.newyorker.com/online/blogs/culture/2013/11/jean-paul-gaultier-fashion-retrospective-brooklyn-museum.html#slide_ss_0=1

Mountain villages in the Caucasus seem to have more centenarians than elsewhere on the planet. Southern Brazil, with its rural enclaves of German ancestry, produces more than its share of supermodels. The Upper West Side of Manhattan used to boast a critical mass of psychoanalysts. But when it comes to enfants terribles, there is nowhere like the fashion world, and the demographic has no age limits. Jean Paul Gaultier is sixty-one.

Enfants terribles often grow up as misfits, as Gaultier did. He was the only child of middle-class parents, born in a suburb of Paris, where, as it happens, the Marquis de Sade once spent some time. As an artistic gay boy in a straight provincial world, he nourished his dreams of glamour at the local cinema, made a corset for his teddy bear, and learned about women’s secrets from his flamboyant grandmother, who encouraged his vocation. He never went to fashion school, though he trained with Pierre Cardin, himself a great iconoclast, then with Jean Patou, a grand bourgeois who, however, knew everything about tailoring. Gaultier’s culot—his in-your-face nerve—has always been tempered by his virtuosity. In 1976, he struck out on his own, with the encouragement of his lover, Francis Menuge, and they built his business together. Menuge died of AIDS in the late nineteen-eighties, and a heartsick Gaultier considered retiring. Instead, he took a second wild gamble, launching a couture atelier at a time when couture seemed passé (2003). The marvels it has since produced, for a roster of clients that runs the gamut from Princess Caroline of Hanover to Marilyn Manson, might be considered louche if they were not also sublime: lace chain mail; neon cancan skirts; mink sailor suits; crocodile tutus; pony-skin samurai coats; a corset made from exposed film; and ensembles inspired by Hasidim, Celtic warriors, cowboys, strippers, tars, drag queens, Cossacks, bag ladies, club rats, toreadors, ranees, tango dancers, punks of every stripe, and some non-human wildlife. But when a proper friend of mine, turning sixty, wanted the perfect couture trench coat, she went to Gaultier.

Link to comment
Share on other sites

gaultier-005.jpg

Gaultier’s work of three decades is the subject of an appropriately delirious retrospective, “From the Sidewalk to the Catwalk,” that opened at the Brooklyn Museum last week, its latest stop on a tour that originated at the Montreal Museum of Fine Arts, then travelled to Dallas, San Francisco, and stops in Europe before arriving in New York. It pays homage as much to Gaultier’s penchant for spectacle and provocation (it was he who first introduced the “man skirt”; designed the cone bra for Madonna’s Blond Ambition tour; and hosted “Eurotrash,” a late-night British comedy show) as it does to his clothing, somewhat, it must be said, to the detriment of the latter. The mannequins have cunningly digitized features—their eyes blink and their lips move like gorgeous ghouls in a fun house. The architecture of the show—a hundred and forty ensembles grouped by theme (i.e., achronologically) in cavernous galleries pulsing with loud music—makes it hard to discern the arc of Gaultier’s career, and there is nothing that I saw in the wall notes about his technique. What were his first collections like? What about Gaultier the formalist? His antic decadence is only part of the story, but it also has a history in French culture that is worth exploring. The insistence on frivolity was, in its way, pedantic.

Link to comment
Share on other sites

gaultier-006.jpg



If there was any doubt about Gaultier’s place in the pantheon of couture, the show dispels it, yet the subtlest examples of his art—a striped gown, for example, that starts out, on top, like an ordinary sailor’s jersey from St. Tropez, then fans into a fishtail skirt of graduated stripes made of ostrich feathers—is overwhelmed by the bells and whistles. I lost track of the corsets in the “Boudoir” gallery (where quilted walls frame glowing niches that vaguely recall the shop fronts in Amsterdam’s red-light district); a more rigorous selection would have turned the trick. An immersive experience also—or especially—needs breathing space.



The members’ preview was attended by fans who had dressed for the occasion in Mylar and marabou. Gaultier, who had originally rejected the idea of a retrospective, objecting that “museums are for dead people,” took the stage for a conversation with the Canadian curator Thierry-Maxime Loriot. The designer wore a rabbinical frock coat over a white T-shirt, and he has let his platinum hair revert to its natural gray. He radiated ebullience. Loriot, in black-leather trousers, is a former model once rejected by Gaultier, at a casting call, because he was “too good-looking.” (Gaultier has, endearingly, often challenged the norms of his industry by sending older, plus-sized, bald, jolie-laide, plain laide, heavily inked, or otherwise anomalous mannequins down his runways.)



The event, like the show, was a love fest, and you had to wonder if Loriot hadn’t had the same trouble tasking himself with critical questions as he did putting any to his subject, who was playing to a rapt audience. “What is beauty?” the curator asked. “Different eez beautiful,” Gaultier replied. “Different, it eeez fab-oo-luss. You can change your life with a new hairdo. If you like yourself, people will love you … I suppose.”



All photographs courtesy the Brooklyn Museum.


Link to comment
Share on other sites

I went to see the JPG exhibit at the Brooklyn Museum this weekend. I was surprised at how big it was. And there were all these creepy mannequins with projections of moving faces on them, some of them singing like choirs. Very "neat." And so much of it was Madonna-related. Pieces from Blond Ambition, Confessions Tour, MDNA, the topless dress she wore during the '92 runway show, a video of the '94 runway show with the baby carriage. It was practically a Madonna exhibit. Go see it if you're near NYC.

My friend and I were discussing this: Did JPG design the pantsuit/dress she wore in the DWT?

How lovely! Glad you've enjoyed it

He did design most of DWT wardrobe yes

Including the gorgeous Latin segment number:

pp03.jpg

madonna-turns-55-and-we-celebrate-her-la

dwt_loquesientelamujer.jpg

Link to comment
Share on other sites

I went to see the JPG exhibit at the Brooklyn Museum this weekend. I was surprised at how big it was. And there were all these creepy mannequins with projections of moving faces on them, some of them singing like choirs. Very "neat." And so much of it was Madonna-related. Pieces from Blond Ambition, Confessions Tour, MDNA, the topless dress she wore during the '92 runway show, a video of the '94 runway show with the baby carriage. It was practically a Madonna exhibit. Go see it if you're near NYC.

My friend and I were discussing this: Did JPG design the pantsuit/dress she wore in the DWT?

He did indeed.

Link to comment
Share on other sites

jp-gaultier-madonna-01.jpg

Love the relationship between these two - professionally and personally. Always look like they have so much fun together and his designs for her are legendary.

I think the reason why this is such a great friendship and why he loves her so much (besides the fact that both are great artists) is that she was there when his lover died because of AIDS. He only briefly spoke about it and I don't remember exactly when it was (I think it was during a fashion segment on Arte) but you could clearly see how grateful he was that she was there because he was so devastated. Interestingly it's very similar to what Donatella Versace said when Gianni was shot. She was the first to offer help.

Link to comment
Share on other sites

×
×
  • Create New...