Jean Paul Gaultier captures his gaze on cinema and fashion | WritingCinema

Divided into five areas, the exhibition of author Cinema and fashion. By Jean Paul Gaultier reviews the presence of the world of fashion in the cinema, the collaborations of great couturiers in film costumes and the creation of masculine and feminine archetypes. The enfant terrible of fashion emphasizes key aspects such as female empowerment and pays attention to heterodox figures of male and female warriors, androgynous and transvestites, as well as the influence of rock, punk and queer cultures that have marked fashion so much. in recent years. The exhibition brings together a heterogeneous set of more than 100 pieces of clothing that are shown in nearly 70 looks, fragments of more than 90 films and 125 graphic representations (posters, sketches, stills and photographs), including originals and reproductions, from his majority of the prestigious collection of La Cinémathèque française and which are complemented by works from more than twenty national and international lenders.

Among the nearly 70 iconic movie looks are dresses worn by Grace Jones in 007: In the crosshairs of assassins (1985), Catherine Deneuve in 8 women (2002), Grace Kelly in rear window (1954); Sharon Stone in Low Instincts (1992); Marilyn Monroe in The wicked (1950); Seven Sinners by Tay Garnett (1940); Brad Davies in Lawsuit (1982) or the corset that
Madonna wore on her tour Blond Ambition World Tour 1990 (designed by the
Jean Paul Gaultier himself).

Also, the costumes Superman (which Christopher Reeve wore); The mask of Zorro (1998), with Antonio Banderas; the shorts that Sylvester Stallone wore in Rockyor Victoria Abril’s wardrobe in Kika (1993) that, along with that of other films such as Bad Education (2004) or The fifth element (1997), was designed by Gaultier. In this line, haute couture designs by Coco Chanel, Pierre Cardin, Hubert de Givenchy, Manuel Pertegaz, Balenciaga and Sybilla, among others, are also on display.

There are two films that occupy a place of honor in the exhibition. The first is falbalas, Jacques Becker’s melodrama (1945) set in the hustle and bustle of a post-war sewing house. This was the initiation film that Gaultier discovered at the age of 13 and whose images he would transform into fashion creations.

The second feature film is Who are you, Polly Maggoo? (1966), by the photographer
American resident in France William Klein, who in the film analyzes his time with a sharp eye and lays bare the then incipient reality shows. It is a satire of the egocentric delusions of the world of haute couture, where at that time the space age dominated and everyone from the misanthropic couturier to the most versatile editor-in-chief fell.

A few years after the premiere of Klein’s film, in 1970, Pierre Cardin, known for his futuristic unisex creations, welcomes the young Gaultier into his home, who considers this to be his second fashion school.

blow-upby Michelangelo Antonioni (1966); Barbarellaby Roger Vadim (1968), and 2001: A Space Odyssey, by Stanley Kubrick (1968), among others, are testimonies of this utopian movement at the crossroads between design, science and music. At the beginning of the 20th century, many films tried to caricature models, the tabloid world or the wealthy clientele in the front rows of the catwalk. One of those tapes is Womenby George Cukor (1939), where the fashion show appears as an ecstatic pause in color within a film still shot in black and white.

Cinema and fashion. By Jean-Paul Gaultier It is not an exhaustive history of the relationship between fashion and cinema, but rather an immersion in the representations of gender roles, on the big screen and through costumes. Ultra-feminized Hollywood femme fatales parade through it, such as Marilyn Monroe, with her tight suits with dizzying necklines, but also the French star Brigitte Bardot, so often accused of violating good customs, at the forefront of a simple prêt-à-porter fashion young and carefree.

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In front of them, the gangsters, the cowboys and the superheroes embody conquering virilities: the deeply macho John Wayne, the brutally muscular Sylvester Stallone or the most naive first interpreters of Superman, with their famous tights. Among them, Marlon Brando seems to constitute a true rupture: with A Streetcar Named Desire (Elia Kazan, 1951), becomes the most famous figure of a new proletarian masculinity that is both threatening and strongly eroticized, unpleasant and desirable. The actor, as an icon of cinema, influences the men’s street fashion of the fifties and a whole generation of young men crazy about rock and roll who, for the first time in the history of fashion, no longer dress like His parents.

Breaking the rules on the catwalk… and off it The couturier’s credo is to sexualize bodies, feminize male silhouettes, give relevance to powerful women. All this steeped in Anglo-American camp culture: from The Rocky Horror Picture Show until Divinewith movies like pink flamingos (1972), and in tune with the emerging avant-garde and emancipation movements, defending at all times that for him there is no single type of beauty.

In the image of the sailor Lawsuit (Rainer Werner Fassbinder, 1982), a homoerotic symbol, or of the bohemian androgynous look of Jane Birkin, exacerbated in heh t’aime moi non plus (Serge Gainsbourg, 1976), in Cinema and fashion. By Jean Gautier It describes the way in which clothing finds a magnificent resonance chamber in cinema, a medium that has never stopped breaking taboos. All this, in a great melting pot of references, radical change of codes and dissolution of borders.

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The five areas into which the exhibition is divided are: falbalasa film that marked the career of Jean Paul Gaultier; ♂ ♀which examines male and female archetypes on the big screen; transgressionsabout the beginnings of androgyny in Hollywood; pop and metalwhich highlights the revolutionary fashion of the sixties, coinciding with the space age and the underground, and paradesas the ultimate celebration of fashion, and its representation in the cinema.

For Gaultier, the ecosystem of cinema and fashion in Spain has always been an inspiration. His close relationship dates back to his childhood, when he began to spend the summer with his family in the Basque Country. He knows first-hand a large part of Spain, the customs, the language and recognizes that certain aspects of the traditional aesthetics of the sixties are part of his creative universe.

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That is why, for this occasion, it pays homage to Spanish cinema with new nods to reference figures for it such as Pedro Almodóvar, Rossy de Palma, Sara Montiel, Antonio Banderas and even Don Quixote, and also to designers such as Balenciaga and Paco Rabanne.

The exhibition is completed with a catalog starring an extensive interview with Jean Paul Gaultier, in which he narrates his career and creative process, paying tribute to his references and inspirations. All this is complemented by images of films included in the exhibition and interviews with personalities such as the filmmaker Pedro Almodóvar, the photographer and film director William Klein or the actress, film director, novelist and costume designer Josiane Balasko.

Jean Paul Gaultier captures his gaze on cinema and fashion | WritingCinema