I’ve had the joy of meeting countless designers these past 25 years, but the most impishly charming has to be Jean Paul Gaultier, the one-time “enfant terrible” of fashion. The genius French couturier, who put men in skirts, Madonna in conical bras and Dita Von Teese in corsets, presented his first ready-to-wear collection back in 1976. Today, Gaultier remains wonderfully in touch with his inner child, making for one of the most playful and imaginative creative minds on the planet. But what truly sets him apart in a world typically rife with artifice and pretention is his great humanity—a deep sensitivity, a love of people, and a profound sense of humour about the human condition. That’s what inspired Nathalie Bondil, the Director and Chief Curator of Montreal’s Museum of Fine Arts, to invite the legendary Gaultier to stage a major retrospective of his multi-faceted 35 year career. The exhibition, dubbed “The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk” will run from June 17th to October 2nd, and is the world’s first Gaultier retrospective. It will eventually travel to Dallas, and later, San Francisco. With the creative collaboration of Quebec theatre director Denis Marleau, who’s designing the mannequins and staging for this monumental multi-media show, Gaultier and curator Thierry-Maxime Loriot will explore various themes in the couturier’s work, from provocative Euro-Trash and multi-gender motifs, to his breathtaking Parisian haute couture garments. I recently chatted with Gaultier in Montreal, and was thrilled to discover that he’s had a long-time love affair with that city, and a special appreciation for the down-to-earth warmth of Canadians. We talked about communication, memories, and his greatest mentor.
JB:
How does it feel for you to be sifting over so many memories from the past?
JPG:
It’s quite emotional because some of the things that we’ve been coming across, I had forgotten about. We’ve gone through so much, because there are many things that will be shown at the exhibit. Some things strike me instantly….and I go, “Oh yes!”—it’s like what happens with a certain perfume or like a particular song, you know– one song that makes you think “Oh yes, I was with that person doing that or that…” I have the flashback of how it went, how that collection was, how hard it was to do, or how lucky we were. Or maybe something very funny happened… some anecdote… so many things. So it’s a lot of my love that I’ve been seeing, because all these things are truly my life. It’s very emotional and I love the process. And I think that what I am really excited about is realizing this idea of creating an exhibition. I always used to say, “Ahhh, the time to do that is when you’re dead!” I always said no to the idea. I did do an exhibit in Paris with the Fondation Cartier in 2004, “Pain Couture”, but that was all based on bread—even dresses made of bread. I said okay to that because bread in a sense is life, so it’s something that afterwards, simply disappears. I love that.
JB:
What made you decide to accept the invitation to do this particular exhibit at Montreal’s Musee des Beaux-Arts?
JPG:
Because I was honoured that there even was a proposition like that, especially after Mr. Saint Laurent’s beautiful exhibition (in 2008). But, mostly, it’s because I met the team, and the idea was to present a new experience in some way. After all, it’s a creation, you know what I mean? It’s not like we’re just showing my different collections of the past. The idea here is to create something meaningful—to represent my reality, to celebrate the mix of ideas, sexuality, all those themes that I’ve used over the years. This is a way of making my world more clear, more obvious, easier to speak about, and more understandable. Also the opportunity to work with Denis Marleau is fabulous. I love his work. This is something I dreamed of, and when I when I saw him, I was in shock. So I am very lucky. This is also going to be a collaboration with somebody that’s given me a story and gives me food in reality. To create something really gives me food in a way, emotionally speaking. And that is bound to surface some way in the future, maybe in some collection. Anyway, the whole creative process makes me see more and think more, and develop more. Creating an exhibition like this really is a kind of psychological journey. Actually, even being interviewed is like going to a psychiatrist! You start to really think about the way you think, the way you are…
JB:
I guess you could see it as therapeutic…
JPG:
Therapy, yes! So thank you for your therapy! It’s a pleasure.
JB:
Oh, anytime! I’ll send you a bill.
JPG:
Exactement! You’ll have to.
JB:
But it’s wonderful because we, too, see so much of ourselves—sometimes unexpectedly—at your shows. You take us on these voyages that inspire us. And it’s a wonderful symbiotic relationship that you have with the people that appreciate you. It’s so inspiring. I’ve just written a book, and you’re in it. And one of the things I say about you is that you’re so generous. You really talk to people. I know now you’re saying maybe it’s just because it’s like therapy. But I see you for hours sometimes after you’ve staged a show, being so kind, and talking to everyone. Why is that? Do you just really have a love for people? A passion for communication?
JPG:
Well honestly, I am very emotional, and I feel when people have good energy, I feel it and I want to answer them. In general, I feel that people like me. Or maybe sometimes it could be a mistake, but I don’t feel it, so it doesn’t matter! (Laughs) I am very lucky because I am doing the work that I dreamed of doing as a child. So after every show it’s like, “Aha! It’s a party! We’ve put on a good party!” I see all my friends, and I love talking with them and getting their reaction. I feel energized. And when I feel that good energy coming back at me, I really want to speak at that point, and communicate. In reality, maybe making clothes is my way of communicating. Maybe it’s because I was always so shy when I was a child. Once, in school, I did a sketch of a woman in the Folies Bergere. And after the boys in my classroom saw that sketch, they smiled and started to treat me like a friend, and said, “Oh, please make me a sketch like that too!” You know, by doing what I do, I feel like I get love back from people, so that’s why I am so joyful.
JB
Another legendary French designer who had a retrospective exhibit at the Museum of Fine Arts here in Montreal was Pierre Cardin. That was back in 1989, and I covered that for Fashion Television. I recently had the opportunity to interview Cardin again, who’s still kicking at 88. You worked as his assistant early in your career. What did you learn from him? How did he inspire you?
JPG:
Mr. Cardin hired me the day of my 18th birthday, the 24th of April, 1970. I just sent him sketches – and he took me without having gone to school, only because he saw my sketches and he liked them. “Okay, you go and work,” he said. What can I say about somebody with such an open mind? He didn’t even ask for a reference. He liked my sketches, so he hired me. That’s somebody very free, very incredible. Afterwards, I went to another old house of couture, Jean Patou, and I saw the difference. Cardin was certainly not like that old house…. He was energetic, always about change. He was Pierre Cardin! So he was doing furniture and I’d have to sketch furniture. I mean, I was there for the clothes and he asked me to do furniture! But he was very controlling and very creative and a very good cutter. He is super professional, very ahead of his time. I remember that he was presenting couture shows, and saying “It’s only for advertising… it’s only that….” He was saying that in the ‘70s! He was also already speaking about, how he didn’t need to make two collections a year, only one is enough. Maybe it was contrary to what everyone else was thinking. Maybe in the future, everybody would be doing five collections a year. But him, he was already thinking that maybe you don’t have to create new collections all the time, maybe there is another way. Maybe you need to make smaller collections, or maybe less, maybe only one. He was even thinking about the seasons, and seasonless dressing. He was very revolutionary and frightened of nothing. I remember that he was looked at the most incredible small details and knew everything. He also signed all the cheques. He did it all—he was the talent, and the money man. What can you say? And still, he has a very elegant manner, and a great mind… He was the first one to do a lot of things. So, bravo Mr. Cardin! I only have love and admiration for him.
JB:
Well, I remember being here with him, just like I’m here with you now. And I hope when you’re 88 years old, I’m still going to be there talking to you too. Because I’ll be 88 then, too… We’re the same age!
JPG:
Exactement! Okay, let’s do that! We have to think about doing something very special together for our 88th birthdays! We have to think about something, something with 88. I don’t know what… We will find something that goes with that number!
JB:
Okay, it’s a date!