In 1983, Yves Saint Laurent became the first couturier still alive to see an exhibition devoted to his work. ” Yves Saint Laurent, 25 years of creation Which is held at the Costume Institute of the Metropolitan Museum of Art in New York, under the direction of Diana Vreeland, attracts a million visitors. When fashion enters the museum, lovers of fabrics and history have always been present. In 2018, the exhibition dedicated to Christian Dior at the Museum of Decorative Arts in Paris welcomed more than 700,000 visitors.
The Mugler creatures. This fall, a rich fashion program invites itself in the halls of Parisian museums, with as a common thread this desire to understand the correlations between clothing and the tribulations of the time. This is the case of the one devoted to the work of Thierry Mugler, which is held at the Museum of Decorative Arts in Paris until April 24, 2022. Traveling exhibition, “Thierry Mugler: Couturissime” has already seduced Montreal before settling in Rotterdam and then in Munich. If the couturier retired from the catwalks in 2002, his extravagant fashion, celebrating conquering femininity, left its mark on the 1980s and 1990s.
Stage costumes, photographs, music, fanciful clothing evoking creatures that look like superheroines flirting with science fiction… The couturier’s unique universe is served here by a scenography highlighting the multidisciplinary career of the creator. The latter is embodied by the greatest supermodels of the time, from Jerry Hall to Gisele Bündchen via Linda Evangelista or Eva Herzigova, who can be found in majesty in the clip “Too Funky” by George Michael, in 1992. Added to this are the eyes of the most famous fashion photographers: Helmut Newton, Jean-Baptiste Mondino and David LaChapelle.
Gaultier’s cinema. It’s a little “his” 7e art that Jean Paul Gaultier tells in collaboration with La Cinémathèque française. “CinéMode”, to be discovered until January 16, 2022, looks back on the creator’s attachment to cinema, which has always accompanied him. ” Fashioning is a very cinematic profession. Preparing a parade means finding models as one would find actors or actresses for a role: preferably unique people who challenge your ideas. », He explains. Through the collections of La Cinémathèque and numerous loans, Jean Paul Gaultier recounts his stylistic shocks on screen with the film Falbalas by Jacques Becker (1945), Blow-up by Michelangelo Antonioni (1966) or even A streetcar named desire by Elia Kazan (1951). We also rediscover the collaboration of Jean Paul Gaultier with Pedro Almodovar, for whom he signed the costumes of the films Kika (1993), Bad Education (2003) and The Piel that inhabits (2011). The exhibition deals with themes dear to the couturier: the liberation of women, gender equality and the feminization of male figures, all through the prism of the big screen.
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