JEAN PAUL GAULTIER - Precision-engineered excess

That is what stood out from the Jean Paul Gaultier Haute Couture show by Duran Lantink, as if calligraphically rendered in this space of mineral-white, where the silhouettes were rendered as a play of volumes, cut-outs and the ‘puffed-up’ effects so dear to the designer. While the suspended tuxedos and funnel-shaped collars were strongly reminiscent of Viktor & Rolf, one was left quite spellbound by this work, which played on balance within imbalance, restraint within accumulation: a sort of mathematical mastery of derision, ranging from swan-neck collars forming a labyrinth of pink feathers to genuine fake XL pipes – air vents through which a stream of black tulle entered and another, white stream, emerged. Projected bralettes, techno-morphic bodysuits, steroid-style dresses, pyramid-shaped suits: Duran Lantink, as a surgeon of appearance, documented every distortion to elevate them to the status of sculptures, or 3D paintings. Despite the references, nothing was academic; everything was a reinterpretation, a blend of influences and a wild encyclopaedic approach, with numerous nods to the Elizabethan era – giant collars, fitted doublets, embroidery – as well as to eighteenth-century France. The silhouettes were so sharply cut that they brought to mind a set design by Bob Wilson, particularly his Queens. Beyond the subtle palette of shades, from burgundies to mint greens, the body became the subject of playful interplay between mind and materials, combining, across 34 looks, couture expertise with more unconventional techniques that showcase the work and craftsmanship of Jean Paul Gaultier (bibendums, flakes, layered effects, jewelled dresses, masculine-feminine role-play, satin-laced corsets) in an architecturally surrealist galaxy. Undoubtedly one of the most surprising shows of the season, its merit lies in celebrating the links between imagination and technique in all their virtuosity. 

 L.B