Fashion exhibits can seem quite “dead.” Most are retrospectives of a designer’s canon of creative output, and their inert, linear displays only emphasize the end of that person’s career. Indeed, for Jean Paul Gaultier, such exhibits are often akin to “a funeral.” His own exhibit, however–“The Fashion World of Jean Paul Gaultier: from the Sidewalk to the Catwalk”–is very much alive.
Gaultier agreed to this exhibit, which runs at Montreal’s Musée des Beaux-Arts until October 2nd, because it shows his work as a moving, living creation–as a continuing process–by presenting it through themes (The Odyssey of Jean Paul Gaultier, The Boudoir, Skin Deep, Punk Cancan, Urban Jungle, and Metropolis) rather than chronology. This staging was particularly important to Gaultier, as the latter can “give the impression an end has been reached,” which is certainly not the case with his tremendously active fashion house.
Yet, it is the thirty winking, blinking, speaking–and singing!–mannequins that truly bring this designer’s world to life. As museum-goers climb up a grand blue-carpeted staircase, they are greeted by these animated models, clad in Gaultier’s signature sailor stripes or dressed as Madonnas, with halos of crochet, golden spikes, and stained glass. One, a likeness of Gaultier himself, with a puckered mouth and crinkled eyes, welcomes guests to the exhibit in French. Another, in an exquisite parrot-feather bolero, sings an aria. Still others, explain various parts of the exhibit, wonder, “What will happen, what will happen? What to do, what to do?,” or remark “I am what I am; Je suis que je suis.” The effect is somewhat creepy, very whimsical, and completely brilliant–much like the original enfant terrible of fashion himself.
Significantly, these mannequins also allow Gaultier’s exhibit to represent the casting (and some of the spectacular Punk Mohawk haircuts) from his shows. The innovative presentation of his work highlights his belief that there is beauty everywhere; the models are based on real people, with subtle but real flaws, such as moles and not so perfect teeth. For a designer known for eschewing traditional images of both beauty and gender (for his runway shows, he has held open casting calls, recruiting with classified ads that read: “Non-conformist designer seeks unusual models–the conventionally pretty need not apply”), the ability to recreate his humanistic approach to the industry was a huge deciding factor in his consenting to the exhibit. In praise of the mannequins, Gaultier has said he considers the installation his “biggest show ever.” And this show is about the people as much as it is about the clothes.
Although the exhibit is centered around Gaultier’s prêt-à-porter and haute couture designs, there are also sketches, photos, runway videos, film-clips, and stage costumes to see. Nana the teddy bear sports a seven-year old Gaultier’s first cone bra. Madonna has lent her entire collection of Gaultier costumes, her iconic bras and corsets from the 1990 Blonde Ambition tour, to the museum. And there are pieces from Kylie Minogue, Nirvana, and films such as The Fifth Element and Kika. Gaultier’s dance track, “Ow to do Zat” plays in one room.
Such items, too, demonstrate the life in Gaultier’s work. A gold lamé corset made from 1930s fabric that was worn by Madonna has turned slightly green from her sweat and the mix of metal fabrics. As well, most items are not behind any glass, so it is possible to get close enough to see the level of craftsmanship involved in their making. Along with impressively comprehensive, and bilingual, labels that include the number of hours that the ensembles took to create, this unparalleled accessibility to Gaultier’s clothes gives yet another dimension of appreciation for the artistry and dedication demanded by haute couture. A 1997-8 leopard print dress is entirely beaded in pearls and a man’s lace and sequin body suit took an incredible 353 hours to craft.
In every way–aesthetically, artistically, technically–this exhibit gives a cogent view of Gaultier’s oeuvre. Over the past thirty-five years, his “Fashion World” has delighted, shocked, and inspired–and now we can be a part of it too.