JEAN PAUL GAULTIER : BE MY GUEST 11.04.14 – 26.07.14

The first exhibition of Jean Paul Gaultier’s graphic design work. Invitations

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29.7 x 21 cm, Printed Cardboard 19.9 x 19.8 cm, Printed Cardboard 19 x 71.3 cm, Printed Cardboard First collection High-Tech collection Sorceresses collection First Women’s prêt-à-porter Women’s prêt-à-porter Women’s prêt-à-porter spring/summer 1977 autumn/winter 1980–1981 autumn/winter 1981–1982

At 24 years old Jean Paul Gaultier In the critically acclaimed High-Tech The Sorceress collection featured launched his first independent collection, Gaultier transformed classic black designs based on catwalk show, held at the Palais found objects into garments made horsewomen of antiquity. The de la Découverte, Paris, in October out of garbage bags, necklaces design of the invitation to this 1976. His first collection featured made from steel wool cleaning collection was a response to the biker jackets worn with tutus and pads, and aluminium cans political landscape of the time sneakers, and reflected his interest in transformed into bracelets. This in France, with the forthcoming the everyday with dresses inspired by collection was inspired by stories elections. François Mitterrand raffia place mats. Gaultier drew the his grandmother would tell about (third from left) is depicted image on the invite, which is of the life during the war, when shortages alongside the other candidates Palais. His business partner and life of clothes meant it was necessary who stood for election, and the partner of 15 years, Francis Menuge, to recycle. The sleek black invitation invitee is encouraged to make who died in 1990, is listed as the design was a response to the their own collage. contact for buyers. minimalism in fashion at the time.

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11.4 x 27.4 cm, Printed Cardboard 29.6 x 21 cm, Printed Cardboard 21.3 x 15.6 cm, Printed Cardboard 21 x 15 cm, Printed Cardboard Story of Man collection The Concierge is in the The Modern Retros collection Around the World in Men’s prêt-à-porter Staircase collection Men’s prêt-à-porter 168 Outfits collection spring/summer 1986 Women’s prêt-à-porter spring/summer 1988 Women’s prêt-à-porter spring/summer 1988 spring/summer 1989

The Concierge is in the Staircase The Modern Retros collection This collection reflected Jean Paul was informed by imagery and combined suits and sportswear Gaultier’s cultural influences and his iconography drawn from Gaultier’s ideas with Gaultier’s characteristic referencing of indigenous clothing Paris. The invitation for the show was twist on convention. styles. Throughout his career inspired by French film posters of the Gaultier has absorbed cultural style pre-Second World War era. references, transforming them into high fashion. 4 5 6 7

31.9 x 23.2 cm, Printed Cardboard 11.5 x 30 cm, Printed Cardboard 17.9 x 26.9 cm, Printed Cardboard 11.4 x 27.4 cm, Printed Cardboard Dada collection French Gigolo collection Constructivist (or Russian) collection Story of Man collection Women’s prêt-à-porter Men’s prêt-à-porter Women’s prêt-à-porter Men’s prêt-à-porter spring/summer 1983 autumn/winter 1986–1987 autumn/winter 1986–1987 spring/summer 1986

The Dada collection showcased The French Gigolo collection The Constructivist (or Russian) The Story of Man collection the exaggerated breasts of totemic comprised body-conscious, collection was a tribute to the referenced religious themes, from the African fertility symbols, an assertion close-fitting lines that objectified Russian art movement. Gaultier was solemn Communion ritual to Heaven. of women’s power. This was a male sexuality. one of the first designers to reference seminal collection in which Gaultier this influential early 20th-century art presented his first corset dresses movement, which mixed materials and corset-style jumpsuits. such as leather, vinyl, sequins and jersey that were emblazoned with Cyrillic lettering. Each model wore one outfit only, and they appeared on stage together alongside Gaultier, who modelled his own collection.

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27.7 x 19.7 cm, Printed Cardboard 21 x 20.1 cm, Printed Cardboard 21.3 x 16.2 cm, Printed Cardboard 29.6 x 21 cm, Printed Cardboard Women Among Women collection Rap’Prayers collection Boarding Schools collection Europe of the Future collection Women’s prêt-à-porter Women’s prêt-à-porter Women’s prêt-à-porter Women’s prêt-à-porter autumn/winter 1989–1990 spring/summer 1990 autumn/winter 1988–1989 autumn/winter 1992–1993

The Women Among Women The Rap’Prayers collection The invitation to the Boarding This collection highlighted Jean Paul |collection referenced military costume amalgamated elements of traditional Schools collection shows an Gaultier’s fascination with migration from around the world and through religious clothing worn across the imagined Gaultier school crest. and its cultural impact, and mixed the centuries. The androgynous spectrum of religions. references from folk traditions from styling and layering of skirts and around the world. trousers played on Jean Paul Gaultier’s experimentation with the presentation of gender and his admiration for confident, empowered women. 15 16 17 18

30.3 x 23.8 cm, Printed Cardboard 29.8 x 41.9 cm, Printed Cardboard 41.8 x 27.9 cm, Printed Cardboard 32.3 x 52.8 cm, Printed Cardboard Photography Maniacs collection Casanova at the Gym collection The Couple – Adam and Eve. Memories of Buried Pasts. Men’s prêt-à-porter Men’s prêt-à-porter Today’s Rastas collection As Time Goes By collection autumn/winter 1992–1993 spring/summer 1992 Men’s and Women’s prêt-à-porter Women’s prêt-à-porter spring/summer 1991 autumn/winter 1990–1991

In Photography Maniacs Gaultier The collection featured contemporary In this collection Gaultier played with This collection played on melancholic paid tribute to image-making men’s tailoring with simple, clean the concepts of androgyny, sending notions of the broken-down elegance with garments emblazoned lines, whilst the cartoon imagery ‘The Couple’ down the catwalk and old-fashioned grandeur of with photographs. on the invite playfully satirises the wearing unisex items. nomads from all over the world. narcissistic nature of the gym scene.

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29.9 x 20.9 cm, Printed Cardboard 22.5 x 127.4 cm, Printed Cardboard 24 x 26 cm, Printed Cardboard Rap’Sody in Blue collection Elegance Contest collection Elegance Contest collection Men’s prêt-à-porter Women’s prêt-à-porter spring/summer 1992 Women’s prêt-à-porter spring/summer 1990 spring/summer 1992

The Rap’Sody in Blue collection The Elegance Contest collection typified Gaultier’s penchant for French This invitation, in the form of cartoon merged suits with running suits, and elegance. Well before founding his couture house in 1997, he showed a binoculars, extended the notion of a narrow torso silhouette with flowing modernised version of classic Gallic chic in the Elegance Contest. The booklet the voyeur, in this case the invitee trousers. The invitation is inspired by with information about the collection was placed on the seats at the catwalk who is assessing the competition. the book and film, ‘The Invisible Man’. show. The cartoon imagery playfully satirises the narcissistic nature of the fashion industry, with Jean Paul Gaultier acting as narrator of this scene. 19 20 21

16 x 12.5 cm, Printed Cardboard 21.1 x 13 cm, Printed Cardboard 12.2 x 24 cm, Printed Cardboard 29.8 x 21 cm, Printed Cardboard Andro-Jeans collection Andro-Jeans collection Europe of the Future collection Chic Rabbis collection Men’s prêt-à-porter Men’s prêt-à-porter Women’s prêt-à-porter Women’s prêt-à-porter spring/summer 1993 spring/summer 1993 autumn/winter 1992–1993 autumn/winter 1993–1994

The Andro-Jeans collection featured Gaultier’s long-standing friend Boy George, This collection highlighted Jean Paul The iconic and controversial Chic whose androgynous style he admired, on the catwalk of this show. Gaultier’s fascination with migration Rabbis collection was inspired and its cultural impact, and mixed by Orthodox Jewish apparel, and references from folk traditions from Gaultier set an unprecedented around the world. milestone for the integration of Judaism and fashion.

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41.9 x 9.9 cm, Printed Cardboard 15.5 x 15.5 cm, Printed Cardboard 12.8 x 20 cm, Printed Cardboard 10 x 21 cm, Printed Cardboard Gaultier Classics Revisited collection Boys and Tomboys collection Gaultier Classics Revisited collection The Great Journey collection Women’s prêt-à-porter Men’s prêt-à-porter Women’s prêt-à-porter Women’s prêt-à-porter spring/summer 1993 autumn/winter 2002–2003 spring/summer 1993 autumn/winter 1994–1995

The Gaultier Classics Revisited The Boys and Tomboys collection was The Gaultier Classics Revisited The Great Journey collection featured collection featured the mille-pattes a further exploration by Gaultier into collection featured the mille-pattes Inuit, Mongol, Tibetan and Chinese shoe along with the trompe l’oeil the theme of androgyny and dress. shoe along with the trompe l’oeil beauties in bathrobes and on-the- flesh-coloured catsuit with nude- flesh-coloured catsuit with nude- town pyjamas, and the invite is a effect embroidery denoting the effect embroidery denoting the Jean Paul Gaultier visa to the world. naked female form. The illustration naked female form. is based on the story of Romulus and Remus, a concept that was later used in the advertising campaign, which was banned in the UK. 28 29 30

29 x 17.3 cm, Printed Cardboard 14.5 x 16 cm, Printed Cardboard 31.9 x 16.5 cm, Printed Cardboard 29.4 x 19.6 cm, Printed Cardboard Pin-Up Boys collection Pin-Up Boys collection Fin de siècle collection 1940s Latino Lover collection Men’s prêt-à-porter Men’s prêt-à-porter Women’s prêt-à-porter Men’s prêt-à-porter spring/summer 1996 spring/summer 1996 spring/summer 1995 spring/summer 1995

The Pin-Up Boys collection drew upon the sailor as a gay icon, and presented The Fin de siècle collection This collection was Jean Paul figure-hugging pink and blue Tom of Finland-style outfits. demonstrated Gaultier’s extensive Gaultier’s interpretation of male knowledge of history, cut and elegance during the 1940s. embellishment, and his skills as a showman, with garments that referenced the Edwardian period through to flapper-style dresses and a New Look dress in homage to Christian Dior.

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22.5 x 13.7 cm, Printed Cardboard 28.1 x 17.5 cm, Printed Cardboard 33.8 x 24.7 cm, Printed Cardboard 21.8 x 16.7 cm, Printed Cardboard House of Pleasures collection Like a Prayer collection Tribute to Frida Kahlo collection Puzzle collection Men’s prêt-à-porter Men’s prêt-à-porter Women’s prêt-à-porter Women’s prêt-à-porter spring/summer 1997 autumn/winter 1998–1999 spring/summer 1998 autumn/winter 2001–2002

The House Of Pleasures collection This austere Gothic-inspired The Tribute to Frida Kahlo collection The Puzzle collection featured drew upon the gay iconography of collection with tracksuit was inspired by the elegant dress mismatched, disassembled and the well-built matelot and the work references was a nod to the styles of Mexico, Brazil, Argentina fragmented clothes. of artist Tom of Finland. Gaultier’s aspirational bourgeoisie. and Cuba. matelot, in this collection, wore sparkly sequined trousers. 31 32 33 34

26.6 x 20.6 cm, Printed Cardboard 21.1 x 13 cm, Printed Cardboard 23.9 x 15.9 cm, Printed Cardboard 22.4 x 15.5 cm, Printed Cardboard Riders and Horsewomen of Modern The Modern Man collection Riders and Horsemen of Modern Flower Power and Skinheads collection Times (or Mad Max) collection Men’s prêt-à-porter Times (or Mad Max) collection Men’s prêt-à-porter Women’s prêt-à-porter autumn/winter 1996–1997 Men’s prêt-à-porter autumn/winter 1997–1998 autumn/winter 1995–1996 autumn/winter 1995–1996

The Riders and Horsewomen of The Modern Man collection The Riders and Horsemen of Modern In the Flower Power and Skinheads Modern Times (or Mad Max) presents feminine haute-couture Times (or Mad Max) collection was collection leather jackets, plaid collection was inspired by electronic detailing in a men’s prêt-à-porter inspired by electronic circuitry and skirts, and knee-high boots are circuitry and used complex line. Going beyond custom-made used complex computerised optical worn by both men and women, computerised optical effects to men’s tailoring, the Modern Man effects as a new way to define making the collection almost enhance body-conscious looks. The collection was enriched by delicate, sexuality. The invite plays on classic independent of sexuality. men’s and women’s collection featured sophisticated materials characteristic iconography, with a centaur kicking silhouettes with outlines that were of women’s couture. its hind legs, creating the silhouette padded and inflated to caricature of what could at first be perceived as effect and referenced memories of his the plumage of a Gallic cockerel. grandmother drying her hair using a soft hood hairdryer attachment.

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31.8 x 22.1 cm, Printed Cardboard 24.1 x 18.2 cm, Printed Cardboard 24 x 18 cm, Printed Cardboard 25.5 x 23.8 cm, Printed Cardboard Baby Doll collection 30th Anniversary Party Intake of Air – Jean Paul Gaultier Party Invitation Women’s prêt-à-porter 2006 Thank You, Calder collection 1987 autumn/winter 2003–2004 Women’s prêt-à-porter spring/summer 2003

The Baby Doll collection was a To celebrate the 30th anniversary Intake of Air – Thank You, Calder humorous take on the idea of what of Jean Paul Gaultier’s first catwalk was a collection of moving garments adults would look like if they wore show, he hosted an evening suspended by metal chains, with lines kids’ clothes. of performance pieces, pop that were soft, draped and twisted. personalities and magic, in October 2006 at Paris’s Olympia. ADVERTISING

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Advertising campaigns for the Around the World in 168 Outfits collection

Women’s prêt-à-porter spring/summer 1989

Baroque Western collection

Men’s prêt-à-porter spring/summer 1989

These collections reflected Jean Paul Gaultier’s cultural influences and his referencing of indigenous clothing styles.

Coloured Transparency 21 x 17.2 cm Coloured Transparency 21 x 17.2 cm Coloured Transparency 21 x 17.2 cm

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Coloured Transparency 21 x 17.2 cm Coloured Transparency 21 x 17.2 cm 48 49 50

The Concierge is in the Staircase collection

Women’s prêt-à-porter spring/summer 1988

Advertising campaigns for The Concierge is in the Staircase collection. Women’s prêt-à- porter spring/summer 1988. The Concierge is in the Staircase collection drew on imagery and iconography from the everyday life of Gaultier’s Paris. The advertising campaign was inspired by French film posters of the pre-Second World War era.

Coloured Transparency 21 x 17.2 cm Coloured Transparency 21 x 17.2 cm Coloured Transparency 21 x 17.2 cm

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Coloured Transparency 21 x 17.2 cm Coloured Transparency 21 x 17.2 cm ADVERTISING

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Advertising campaign for Advertising campaign for the Chic Rabbis collection Advertising campaign for the Elegance A Wardrobe for Two collection Women’s prêt-à-porter autumn/winter 1993–1994 Contest and Casanova at the Gym collections Women’s prêt-à-porter spring/summer 1985 Women’s and Men’s prêt-à-porter spring/summer 1992

A Wardrobe for Two was a seminal collection The iconic and controversial Chic Rabbis collection This collection presented contemporary tailoring in which Gaultier presented his ideas for was inspired by Orthodox Jewish apparel. Gaultier with simple, clean lines, whilst the ad campaign androgynous clothing and launched his skirt for set an unprecedented milestone for the integration playfully satirised the narcissistic nature of men, propelling a garment from ancient times of Judaism and fashion. The advertising campaign fashion. Model Tanel Bedrossiantz was a back into fashion history. was styled to resemble a family photograph, and prominant character in this campaign. included members of his team and long-standing collaborator Tanel Bedrossiantz. 56 57 58

Advertising campaign for the Advertising campaign for the Advertising campaign for the fin de siècle collection Gaultier Classics Revisited collection Tribute to Frida Kahlo collection Women’s prêt-à-porter spring/summer 1995 Women’s prêt-à-porter spring/summer 1993 Women’s prêt-à-porter spring/summer 1998

This collection featured signature Gaultier The Tribute to Frida Kahlo collection was inspired The Fin de siècle collection demonstrated statement pieces, including the skirt for men by the dress styles of Mexico, Brazil, Argentina Gaultier’s extensive knowledge of history, cut and and bondage references, in a campaign that and Cuba. embellishment, and his skills as a showman, with juxtaposed traditional colonnades with graphic garments that referenced the Edwardian period hypersexualised imagery. The campaign was through to flapper-style dresses and a New Look highly polarising, and was banned in the UK for dress in homage to Christian Dior. portraying a sexualised image of women. For Gaultier, this was an empowering symbol of women, based on the legend of the male twin founders of Rome, Romulus and Remus, who were nurtured by a she-wolf. From the outset of his career Jean Paul Gaultier Jean Paul Gaultier: Be My Guest is a collaboration between London College of Fashion, Montreal Museum has designed the invitations to his catwalk shows of Fine Arts, Maison Jean Paul Gaultier, Paris and the Barbican Art Gallery. Curated by Thierry-Maxime Loriot and and devised the iconic advertising campaigns Alison Moloney. This is a satellite exhibition to The Fashion which have shaped his image. This is the first time World of Jean Paul Gaultier: From the Sidewalk to the Catwalk on view at the Barbican until 25th August 2014. this extraordinary body of work has been exhibited.

The unique invitations to his catwalk shows, seen only before Fashion Space Gallery 1st Floor, London College of Fashion by industry insiders, alongside the ground-breaking advertising 20 John Prince’s Street, London W1G OBJ campaigns reveal the themes and concepts which led to his longstanding reputation as fashion’s enfant terrible. www.fashionspacegallery.com

This graphic design work traces a trajectory through the evolution of FashionSpaceLDN his work and includes campaigns for seminal collections including A FashionSpaceGallery Wardrobe for Two, prêt-à-porter Spring/Summer 1985, where Gaultier FashionSpaceGallery introduced his concepts for androgynous clothing through to his Frida #JPGBeMyGuest Kahlo tribute collection, Spring/Summer 1998, which highlights the cultural influences in his work.

The exhibition reflects how Gaultier has shaped his image and translated his visionary catwalk collections into iconic invitations and advertising campaigns.