Spring 94 RTW
" A startling vision of cross-cultural harmony,” is how Vogue summed up Jean Paul Gaultier’s Les Tatouages collection of Spring 1994.The top notes were tribal, Indian, and African, which, like the much-commented-on faux piercings, reflected an abiding interest in “global village chic” that would go on to define Gaultier’s work for decades. "
source: VOGUE
Spring 95 RTW
" ' We designers think we’ve invented something, but we haven’t at all, ' Jean Paul Gaultier told Vogue when talking about his Fin de Siècle collection, the subject of which was a century of fashion, from S-curve corsets to Lycra. If current fashion is defined by a high-low mix, that of the late 1990s was fixated on an old-new one. ' A lot of young girls like old movies and dream to have old dresses that you can’t find anymore,” Gaultier told The New York Times. “I played with that. ' The designer, who bizarrely gave interviews from a velvet-lined box, saved his biggest magic trick for the finale: Madonna in a slip dress pushing an antique pram from which she lifted a young pup. "
source: VOGUE
Spring 98 RTW
" Romance and swagger coexisted in this collection inspired by goth rocker Marilyn Manson and the Mexican artist Frida Kahlo. More gentle than some of Gaultier’s other cultural excursion–style shows, this one showcased tailoring, exquisite craftsmanship (the beaded twinsets paired with jeans were standout looks), and a taste for the dramatic. Many of the models sported unibrows à la Kahlo, and some wept tears of blood. "
source: VOGUE
Spring 20 RTW
" The Love Boat was Jean Paul Gaultier's inspiration for a campy cruise through vacation wear. His island runway came complete with sand, leaves, a palm tree and a little pond for models to take a dip. Vampish ocean-liner mavens with '70s coiffures opened the show with an array of boldly printed tops adorned with silk-screened faces. "
source: VOGUE
