Jean Paul Gaultier haute couture by Haider Ackermann: More H than JP
A lot of Haider and not a huge amount of Jean Paul at Jean Paul Gaultier haute couture By Haider Ackermannthe fourth edition of the ongoing project invites famous designers to create couture collections dedicated to the famous and now retired Gaultier.
Held on a Wednesday night amid high expectations and attended by many big names in bold, this is a concise, stylish, perfectly tailored and cleverly pleated collection. However, one that lacks the fireworks of the great Gaultier shows when Jean Paul was in his pomp.
The audience size is about a third that of traditional Gaultier performances, another reason perhaps is that the stars seem to have plenty of evidence. A diverse team, they include Kylie Jenner, Timothée Chalamet, Tilda Swinton, Baz Luhrmann, Carla Bruni, Catherine DeneuveAnselm Kiefer, Lou Doillon and Alexi de la Falaise.
The entire main floor of the Gaultier is painted in blue, like a minimalist invitation. Although the opening is predominantly black, the brightly tailored suits, coats and bras are made of grain, a light French wool. The two launch outfits are truly gorgeous, a cross between red dogs with plissé chest stickers, reminiscent of the great Madame Grès.
In fact, Ackermann mentioned Madame Grès so much that a tramp confused the letters G and that he was heading for Grès and not Gaultier. Also, if one is looking for JPG signatures – sailor tops, cross-dressing, street chic and plaid – there are very few of them. And where are the trenches or kilts?
That said, it’s also interesting that Haider doesn’t pay homage to Gaultier’s standards. At least one or two conical bras, cut into icy blue or turquoise petals. Plus, he tucks in a few hints of corsets, done in the most aristocratic style, barely discernible between classic tuxedo pants and a bra.
It feels as if Ackermann has been given the chemistry of a true Parisian haute couture studio and decided to prove that he can be a true couturier, using classic plissé techniques. , drapes and perfect tailors. And that means the clothes put too much emphasis on the classic couture silhouette and not the avant-garde ruffle he’s famous for.
A couture show for both men and women showcasing some of the great menswear styles – from the dandy turquoise divine messy coat finished with micro-dimming to the top Brilliant metallic embroidered jackets and jackets worn with white jeans. An ideal look on the red carpet whenever Chalamet makes a musical biopic.
It’s, of course, the most famous thing Haider has done in the past few years – dress Timothée in an experiential red satin gown for the Venice Film Festival.
Of course, haute couture is fashion’s laboratory and quite frankly some of his experiments have been bombed – notably some of the tops are encrusted with feathers, almost like duck eggs being pored over by a hedgehog. sea attack. Others are excellent – a Pacific blue zip-up bomber jacket with a long crepe skirt deserves a standing ovation in its own right. In an erratic show, there were some good moments – an icy blue morning idol suit that really hit the ground.
An engaging soundtrack, in which Joana Preiss reads words written by Sophie Fontanel about the current Iranian uprising against the theocratic government, followed by Shervin Hajipour’s performance of Baraye, the song about the eruption. there. Before the sudden change resulted in some strange mechanical humming, as if a submarine was failing and about to sink.
At the finale, Haider hugged Jean Paul and they marched on the runway together, Gaultier beaming. Then again, with his permanent amused smile, Jean Paul did it for all four of the guest designer’s shows at his home.
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