GLAM Magazine

GLA GLA M M GL AM

vol.1 vol.1

2011 2011 MARCH MARCH

vol. 1

MARCH 2011

MARCH

CONTENTS

04 12 23 32

Abbey Lee Kershaw THE BIG FACE OF 2011

Sasha Pivovarova HAS THE STARE OF A SNIPER

Grand Palais THE WONDERLAND OF K ARL LAGERFELD

Jean Paul Gaultier 2011 SPRING/SUMMER READY-TO-WEAR

Abbey Lee Kershaw INTERVIEW

PRIYA RAO

the big face of

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2011

THIS YOUNG AUSSIE IS UP FOR ANYTHING. abbey lee kershaw won girlfriend

2003

model comp since then she’s been on the runway and doing magazine shoots.

Born on June 12, 1987 in Melbourne, Abbey Lee Kershaw is an Australian Supermodel. She is known for her big, wide-set blue eyes and sweet, angelic face. She currently ranks 5th on the Top 50 Models Women list by models. com. and She’s also ranked 21st on the “Top Money Girls” list by models.com.

As a kid, she was always in the hospital; when she was four she suffered from meningitis and had to have two spinal taps. She also had a tumor on the knee, and lots of broken bones from climbing trees. Abbey Lee “grew up with 42 nationalities” explaining in an interview, that her primary school of 150 kids, was very multicultural. Abbey Lee used to work in the bakery section at Newmarket Safeway, the McDonald’s on Racecourse Road in the Flemington and the Flemington bakery/cafe.She later went on to win the prestigious Australian 2004 Girlfriend Model Search. After high school, in 2005, she moved from Melbourne to Sydney to begin modeling. She lived 100 meters from the beach and it was while at the beach where she got scouted by Chic Management’s Kathy Ward, the model scout that also discovered Miranda Kerr and Samantha Harris. She signed with Chic Management within weeks.

Kershaw turned heads debuting in New York Fashion Week with her Lauren Hutton–esque

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gap tooth and her pierced nose and nipple.

She managed to walk a number of 29 shows at New York fashion week for designers such as Oscar de la Renta, Halston, and notably closing for Rodarte. Kershaw was booked as a Gucci exclusive, impressive for her first time show in Milan Fashion Week. Later that year in September Abbey Lee took a major spill at the spring Rodarte show in New York, regardless it did not affect her booking runways shows.

Kershaw was one of the fresh faces to land in one of the fourteen covers of V magazine fall issue; and the other fresh faces were Anna Selezneva, and Eniko Mihalik. Each cover boasts a head shot of a famous model, either from the new crop of leading models (Agyness Deyn, Lara Stone, Natasha Poly, Anja Rubik, Daria Werbowy ect.) or the supermodel era (Christy Turlington, Naomi Campbell, Eva Herzigova), it was lensed by duo Inez van Lamsweerde.

During Paris Fashion Week, Abbey Lee fainted at the Alexander McQueen Spring/Summer 2009 Runway. She fainted just as she was about to exit the runway. Abbey Lee stars in the fragrance ads for Gucci’s new “Flora” scent.

Abbey Lee has been the face of Gucci’s “Flora” fragrance for two consecutive years. She has also been a part of advertisement campaigns for the fragrance since 2008.

ABBEY LEE’S EYES LOOK STRAIGHT INTO THE CAMERA; THEY ARE WIDE AND BLUE AND ALMONDSHAPED, JUST LIKE THOSE YOU SEE IN JAPANESE MANGA CARTOONS.

where Richardson was accused of cajoling the girls for his own sexual satisfaction. In his defense Kershaw said, “Terry doesn’t force girls to do anything they don’t want to. He puts you in a G-string in a pile of mud because you want to do it. You touch yourself because you want to. For me, that shoot was the truth about how things were between us both, and I felt good doing it. I’m not ashamed of it” Abbey Lee has just thrown her leg over the back of her head and is holding it there for what seems like for ever. She’s wearing those improbably heavy McQueen crab-claw shoes, the freaky-looking ones from the show; but she holds her leg still and doesn’t move. This is perhaps the 14th time she’s done this in the space of three hours. “Hold it! There! Twist your body — a little to one side. Yes!” says the photographer. And she does, at increasingly obtuse angles — she’s a former dancer. Her eyes look straight into the camera; they are

wide and blue and almond-shaped, just like those you see in Japanese manga cartoons.

In the past two months, Lee has emerged as the hottest face of 2010. Heavily in demand for all manner of campaigns, shoots and shows, she’s up there with Lara Stone, the gorgeously curvy girlfriend of David Walliams: the gaptoothed daughter of rock royalty Georgia May Jagger; and the sexy, Brit model Daisy Lowe.

The shoot breaks and Abbey pulls off those huge McQueen shoes, lights a cigarette and downs some coffee. “Do you live in London?” she asks me in her soft Aussie accent. “I’d move there tomorrow, I love it — but the weather sucks.” She’s something of a lunatic, Abbey.

Next she is telling me how a model should always carry a spare thong in her bag, and how her pet lizard, called Annie Hall, likes to sit on her shoulder when she goes down the pub: “A lizard is a perfect pet for a model,” she

FOR ME, THAT SHOOT WAS THE TRUTH ABOUT HOW THINGS WERE BETWEEN US BOTH, AND I FELT GOOD DOING IT. I’M NOT ASHAMED OF IT — WHY SHOULD I BE?

says. “They only need feeding once a fortnight.

And I’m always travelling, so it’s perfect. If I had a dog, it would drop dead of starvation.”

Then she shows me her tattoos: “I’ve got one on the palm of my hand, a peace sign on my finger, a little owl, and two new ones on the side of my stomach. I had them done in white ink so I can still model — it means they’re invisible.”

Then there’s her secret tattoo, hidden on the inside of her bottom lip; an amateur pin-andink job. It’s supposed to say “truth” but reads more like “bacon”. If you get bored with the tattoos, there are always the piercings — 10 of them in total: nipple, nose, belly and seven in her ears. Don’t they hurt?

“I find the pain fascinating,” she riffs. “I enjoy putting myself through it, which is weird because I’m scared of needles. It probably comes from when I was four and dying of meningitis and had to have two spinal taps. I was always in hospital as a kid: I had a tumour on my knee, lots of broken bones. I loved climbing trees.”

Was she popular with the boys? “Well, I’ve always swung both ways, so it’s a bit different for me. I don’t call myself bisexual: I’m just experimental. I was always looking for somebody to sweep me off my feet, but then I got bored after two months and was on to the next.”

Abbey’s currently into men, one in particular, Matt, who is “hot, and a singer in a rock band”.

This “experimental” side helped fuel rumours that Abbey was sleeping with a fellow model, the

lesbian Freja Behar. She refuses to comment, but admits she “didn’t have to act that much” in a now infamous sex-inspired shoot she did with Behar for the French magazine Purple.

This explicit spread, where both girls posed in various cod Sapphic tableaux and varying states of undress for the photographer Terry Richardson (kissing in bras, without bras, in panties, boobies out) caused outrage in the blogosphere, where Richardson was accused of cajoling the girls for his own sexual satisfaction.

Does Abbey ever have a sense of shame?

“I once wet myself in bed and my boyfriend at the time woke up wet through,” she says.

“I’ve done all kinds of embarrassing things like that, but there’s no room for embarrassment or shame, life’s just one big joke. It’s because I have no sense of shame that I’m always willing to give things a go. That’s why I do this job.

I’m always looking for the next door to open.”

And when it does, you can bet this girl will jump straight through.

Where was Abbey Lee Kershaw this New York Fashion Week? Well, she swapped the runway for the stage, opting to tour with her moody retro-psychedelic band, Our Mountain. Set up as a slice of life from the road, the quartet, including Abbey’s boyfriend Matthew Hutchison, dines, waits for the van, and divvies up motel rooms. Maybe it’s not as glam as life back-of-house at NYFW, but it sure seems to its have rustic, hippie charms.

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“NO ONE DOES IT BETTER THAN ABBEY LEE.” –THE NEW YORK TIMES

All clothes by Fred Perry Photography Benjamin Alexander Huseby Styling Nicola Formichetti

COLLEEN NIKA

INTERVIEW

Sasha Pivovarova

HAS THE STARE OF A SNIPER

“Health and beauty is the same for me. If I’m not healthy, I’m not beautiful.”

“I think female models have more of a future than

men do. They are always changing and growing.

I don’t like to think about who has money and who doesn’t as long as you are happy with what

you are doing.”

–Sasha Pivovarova

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“MODELING IS LIKE A TOUCHSTONE OF MY LIFE, ONCE I OWN IT, I’LL LET IT SHINE.” –Sasha Pivovarova

Since the world came to know her as Miuccia Prada’s new elfin muse in 2005, Russian model Sasha Pivovarova has stalked elite runways, graced the cover of high fashion glossies the world over, and upstaged her cloned peers with her razor-sharp, sweetly sinister appeal.

In her pictorial wake, she leaves a full cast of gonzo characters: Hitchcock Blondes and beautifully deranged mental patients; even a gender-challenging John Galliano. Now 23, Pivovarova still dominates her field, and has effectively muse-hopped between Prada and Galliano, recently even starring in his new Dior campaign, and ads for Armani, Longchamp, Chanel Eyewear, Biotherm, and Pringle. Sasha, who now primarily resides in an artist’s loft in Brooklyn, is eager to challenge herself, and follows up her first exhibition in 2008 with drawings for Prada. Interview caught up with the very engaging Miss Pivovarova just before the new year.

You now live in Brooklyn: Whatare your favorite places there? Is it much colder than Moscow?

My favorite area in Brooklyn is Williamburg.

There are lots of nice little shops and cafes on Bedford Street: I really like the art bookshop Spoonbill & Sugartown on North 5th and Bedford. My favorite places to eat are diners on Broadway and Berry, Marlow and Sons, which is a very cozy Brazilian place called Miss Favela, where I have Asai for breakfast and listen to live music in the evenings, and a Mexican place called Bonita, which is really great for rice puddings. My favorite places in Moscow are the Pushkin Museum of Fine Art: It has a wonderful collection of Impressionists; the Justo club, and Sandyni Bath, which is the oldest bath house in Moscow. For Russian food, I like the Zhiguli restaurant. And so far, New York is much colder than Moscow!

Did you have a New Year’s resolution? I was on board 168 airline flights in 2008! My New Years resolution this year is to spend more time with my family.

You had your first gallery exhibit in 2008, and you are making a book for Prada. I am working on a book of drawings: it will be in the form of a scrapbook and include drawings, photography, and collages. It’s an endless process because I am constantly changing and adding new images/ I really hope to publish it in upcoming year—this was my other New Year’s resolution!

You have a signature feline runway presence, and were one of the first models I remember to capture the militant but alluring “death stare” that so many others others now emulate. Did it come naturally to you? I just walk how I walk.

But I am also really inspired by the physical drama in silent films from the beginning of the 20th century—it’s ice cold and unreachable,

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like the stare of a sniper! I guess this look is something new that I brought into the world of fashion: a dark and dramatic, 19th century Russian literature and drama inspired look. But actually in the real life I am very positive and smile most of the time.

As an art history student at the Russian University for the Humanities, Pivovarova never dreamed of becoming a model until friend and photographer Igor Vishnyakov took photos of her in 2005 and gave them to international modeling agency IMG, thus beginning her career. After signing with IMG, her first runway show was for Prada, who then signed her to a three-year exclusive advertising contract.

In the May 2007 issue of American Vogue she was featured on the cover with Doutzen Kroes, Caroline Trentini, Raquel Zimmermann, Jessica Stam, Agyness Deyn, Hilary Rhoda, Chanel Iman, and Lily Donaldson as the new crop of “supermodels,” and in her interview, she talked about her love for art and reading.

At the time, she was reading War and Peace.

She has also been featured on the covers of the Russian, American, British, and Australian editions of Vogue. Pivovarova appeared in the 2008 Pirelli Calendar.

She is currently working with Dhani Harrison, son of late George Harrison; they are recreating fashions of The Beatles era in the line “Here Comes the Son”.

In early 2009, Pivovarova ranked 2nd on the Models.com Top 50 Models Women list, sharing the spot with Natasha Poly. Her agencies are: Unique Models in Denmark, IMG Models in New York City, and Donna Models in Tokyo.

Her current home in Brooklyn, New York doubles as an art studio. Pivovorova said in a Teen Vogue interview, “I was playing with pencils while the other girls were playing with dolls.”

In her free time, Pivovarova loves to paint and draw. Her paintings have been displayed in a gallery in Paris and have been published in French Vogue. She said in an interview with CNN that she uses anything as a canvas: hotel papers, casting and itinerary papers – anything she can find.

Pivovarova is currently collaborating with Miuccia Prada to produce a book of her own artwork in the upcoming year. It will be in the form of a scrapbook and include drawings, photography, and collages. She might also be illustrating a children’s book for Karl Lagerfeld.

Pivovarova is married to long-time friend and photographer Igor Vishnyakov. They married in Thailand and recreated the scene for a photo shoot in June 2009 American Vogue with close family and friends, including Natasha Poly, Jessica Stam and Irina Kulikova.

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“I’M MAKING A STORY ABOUT EVERYTHING I DO— DESIGNERS, PARTIES, ABOUT ME, ABOUT YOU.” –Sasha Pivovarova

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All clothes by Dolce & Gabbana. Chanel, Versace Photography Jennifer Hueston and Anmilcar Navarro Styling Mariko Ouchi, Nelma Kalonji and Danielle Lindo GLAM 22

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KARL LAGERFELD

THE WONDERLAND OF

Grand Palais

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“CHANGE IS THE HEALTHIEST WAY TO

SURVIVE.” –KARL LAGERFELD

karl lagerfeld has an obsession with the grand palais and this year was no exception.

Chanel latest collection, Fall/Winter 20092010 à la Avenue du Général Eisenhower in Paris, presented a series of skirt suits and coat dresses with ultra feminine ruffles and frills in frothy chiffons. An all black haze with the ever popular for spring, pastel mint and bubblegum light pink – as the house of Chanel does best.

A charming collection. What’s even more charming about the show (or should we say gorgeously architectural) is the space in which Mr. Lagerfeld repeatedly draws inspiration for his setting. The Grand Palais of steel and glass built in 1900 for the Paris Exhibition is home to many an event – with Chanel a namestake. This year, fashions were showcased upon a typical Chanel backdrop of black and white, through entranceways and mini rooms viewed by supporters of the house, aligned amongst their stadium style seating.We showcase many a runway garment, but today decided to switch it up and showcase the atmosphere.

The Grand Palais des Champs-Elysées, is known as the Grand Palais, is a large historic site, exhibition hall and museum complex located at the Champs-Élysées in the 8th arrondissement of Paris. Construction of the Grand Palais began in 1897 following the demolition of the Palais de l’Industrie (Palace of the Industry) as part of the preparation works for the Universal

Exposition of 1900, which also included the creation of the adjacent Petit Palais and Pont Alexandre III. The structure was built in the style of Beaux-Arts architecture as taught by the École des Beaux-Arts of Paris. The building reflects the movement’s taste for ornate decoration through its stone facades, the formality of its floor planning and the use of techniques that were innovative at the time, such as its glass vault, its structure made of iron and light steel framing, and its use of reinforced concrete.

One of its pediments calls it a “monument dedicated by the Republic to the glory of French art”, reflecting its original purpose, that of housing the great artistic events of the city of Paris. The competition to choose the architect was fierce and controversial, and ultimately resulted in the contract being awarded to a group of four architects, Henri Deglane, Albert Thomas and Charles Girault, each with a separate area of responsibility.

The main space, almost 240 metres long, was constructed with an iron, steel and glass barrelvaulted roof, making it the last of the large transparent structures inspired by London’s Crystal Palace that were necessary for large gatherings of people before the age of electricity. The main space was originally connected to the

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axis by a grand staircase in a style combining Classical and Art Nouveau, but the interior layout has since been somewhat modified.

The exterior of this massive palace combines an imposing Classical stone façade with a riot of Art Nouveau ironwork, and a number of allegorical statue groups including work by sculptors Paul Gasq and Alfred Boucher. A monumental bronze quadriga by Georges Récipon tops each wing of the main façade. The one on the Champs-Élysées side depicts Immortality prevailing over Time, the one on the Seine side Harmony triumphing over Discord. The grand inauguration took place May 1, 1900, and from the very beginning the palace was the site of different kinds of shows in addition to the intended art exhibitions. These included a riding competition that took place annually from 1901 to 1957, but were mainly dedicated to innovation and modernity: the automobile, aviation, household appliances, and so on. The golden age of the art exhibitions as such lasted for some thirty years, while the last took place in 1947. The first major Matisse retrospective after his death was held at the Grand Palais from April 22, 1970 to September 21, 1970 and was an incredible success.

The structure itself, however, had problems that started even before it was completed, mainly as a result of subsidence caused by a drop in the water table. The builders attempted to compensate for this subsidence, and for a tendency of the ground to shift, by sinking supporting posts down to firmer soil, since construction could not be delayed. These measures were, however, only partially successful. Further damage occurred once the building was in use. Excessive force applied to structural members during the installation of certain exhibitions such as the Exposition Internationale de la Locomotion Aérienne caused damage, as did acid runoff from the horse shows.

Karl Lagerfeld conjured the spirit of Versailles for Chanel Tuesday in a glamorous procession of feathers, faux-tweed, rips and lace.

Under the vast glass domes of Paris’ Grand Palais exhibition hall, models walked out on white gravel, between fountains and black rock “hedges”, a wintry garden effect to showcase the label’s ready-to-wear look for next summer.

Actress Keira Knightley and singers Lily Allen and Courtney Love were among the famous faces who graced the front rows as the hall filled with orchestral renditions of pop anthems from Bjork to Oasis. “It’s Versailles. It’s quote “dead French’,” the designer quipped after the show. Models wore silver or gold platform ankle boots or platform sandals that morphed into black leather thigh boots, their hair pulled

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back into slick pony tails or cut short and boyish.

Chanel classics were there but sexed up and revisited–like faux-tweed skirt suits in pastel yellow and pink, or jackets twinned with risque mini-shorts in black, ivory or lime green.

A navy blue knitted dress flowed into a seethrough pencil skirt which left the top of the thighs–and even a bit more–completely bare.

Ostrich feathers puffed out a jacket, spiced up the hem of a tweed-effect dress, the collar of a black ball gown, or dressed a model head to toe, in a coral sleeveless dress that swept caressingly around the legs.

The feathers, Lagerfeld said, were a tribute to the 1961 film “Last Year in Marienbad,” for which Coco Chanel designed the costumes.

Dayside fabrics were given a roughing-up, with ripped holes piercing black and white jackets, while a baby-pink satin dress had rectangular panels of slashed strips like shredded paper.

Skinny grey jeans had ripped featuring too, creating tiny holes that gave a peek at the pink or yellow underneath.

“Fashion changes, fabrics change–that’s what is fascinating. But there has to be a certain mystery in novelty,” Lagerfeld told reporters of the show’s trompe l’oeil tweed, rips and other quirks. For evening, Chanel’s trademark black was back en force, with 1980s top model and former face of Chanel, Ines de la Fressange, closing the display in a black lace gown of opaque and see-through stripes, laid over a silk black skirt.

“We’ve seen enough of 15-year-old Russians,” he told AFP after the show. “Fashion shouldn’t be reserved to teenagers.” Lagerfeld also sent out his male model muse Baptiste Giabiconi in skin tight jeans with a low slung metal belt, and a man and baby son duo in matching jeans and white jackets -- the only genuine tweed in the show, the designer said.

Karl Lagerfeld gets a lot of his inspiration from dreams, but he didn’t need any help from them today, because he already had Last Year at Marienbad, that hallucinatory slice of avantgarde celluloid from the early sixties, on his mind. Some would say that, despite its storied reputation, it’s the most boring movie ever made, but for Lagerfeld—and Chanel—it inspired a breathtakingly surreal setting: a monochrome ornamental garden, complete with fountains, which mirrored one of the film’s most famous scenes. A full orchestra of 80 musicians sawed through romantic arrangements of Björk, the Verve, and John “007” Barry to soundtrack the 18-minute show (positively epic by today’s ADD standards). The models, meanwhile, paraded in a carefully schematic way that had a little of Marienbad’s arch, rigorous formality. It all

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All clothes by Chanel Photography David Sherry Styling Karen Langley

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conspired to make the boldness of the clothes even more audacious.

It was as though Lagerfeld had taken scissors to Chanel—or maybe unleashed a cloud of ninja moths. The first outfits were riddled with holes that recalled Rei Kawakubo’s “new lace,” so radical in the early eighties. After the show, the designer said new fabrics were one of his touchstones for the collection, but he distressed them with selvedge, ragged edges, and a lattice of perforations. That chaotic quality persisted in dégradé chiffon florals or a monochrome tweed patchwork. The classic suit was reconfigured as a swingy A-line jacket with three-quarter sleeves and shorts as often as skirts. Almost everything had an unfinished feel, a thready, feathered edge. It loaned an enthralling urgency, and the

fierce young spirit in the collection could be read as a swingeing riposte to the cutesiness that sometimes overtakes Chanel’s ready-towear. There were more than 80 models in the show, and each outfit created a character so individual that the clothes truly held their own against the majestic backdrop.

Marienbad seeded the collection in another way.

Coco Chanel herself designed Delphine Seyrig’s clothes for the film, and they were echoed in a final passage of black lace dresses tufted with coq feathers. It was a slightly wild detail that made a perfect capstone to this captivating show, even more so when the sea of black was interrupted by Carmen Kass, undulating down the surreal allée in a quivering cloud of apricot feathers.

2011

spring summer

ready-to-wear

Jean Paul Gaultier

To start Jean Paul Gaultier’s show today, Gossip’s lead singer Beth Ditto hit the runway in a laser-cut silver dress, the strips rippling over her plentiful curves. Gaultier was one of the first designers to put bigger models on his runway, and there were a couple in the lineup tonight, and Crystal Renn among them. But the size debate was just one thing on a very crowded agenda.

Gaultier’s catwalkers wore Joan Jett wigs, and her most famous songs were on the soundtrack. A rock ‘n’ roll attitude seemed to infuse the show’s styling, too. In addition to their spiky hair, the girls accessorized with lace body stockings and Dr. Martens with the backs cut away.

As for the clothes themselves, they were all over the map. On the designer’s wide-ranging playlist: jackets with squared-off shoulders, showgirl lingerie, jumpsuits, nautical stripes, palm-print dresses, leather biker jackets, a rose-print cape, and even one metal breastplate. His signature trenches came with accordion pleats. Some of it you could picture on Jett, other parts not so much. If it all made sense in the mind of Jean Paul Gaultier, it was a bit less clear from the sidelines (even with the 3-D glasses he’d provided with his invitation). Beth Ditto’s a cappella performance as she came back down the runway for the second time was captivating, but it didn’t offer any solid clues.

Gaultier designed the wardrobe of many motion pictures, including Luc Besson’s The Fifth Element, Pedro Almodóvar’s Kika, Peter Greenaway’s The Cook, the Thief, His Wife & Her Lover, and Jean-Pierre Jeunet’s La Cité des enfants perdus (The City of Lost Children). He currently designs for three collections: his own couture and readyto-wear lines, for both men and women.

In 1988 Gaultier released a dance single titled “How To Do That” on Fontana records from which came one of the first ever “single title” remix albums “Aow Tou Dou Zat” on Mercury records. The album includes mixes by Norman Cook, JJ Jeczalik, Mark Saunders, Latin Rascals, George Shilling, David Dorrell, Carl Atkins, and Mantronik. Co-written & produced by Tony Mansfield, video directed by Jean Baptiste Mondino. The album also featured a collaboration with accordion player Yvette Horner.

Gaultier has designed a number of the costumes and outfits worn by rocker Marilyn Manson, including the outfits for Manson’s Golden Age of Grotesque album. In France the costumes he designed for singer Mylène Farmer gained much attention.

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Jean Paul Gaultier never received formal training as a designer.

Instead, he started sending sketches to famous couture stylists at an early age. Pierre Cardin was impressed by his talent and hired him as an assistant in 1970. .And then later on in life he worked with Jacques Esterel in 1971 and Jean Patou later that year, then returning to manage the Pierre Cardin boutique in Manila for a year in 1974. Gaultier’s first individual collection was released in 1976 and his characteristic irreverent style dates from 1981, and he has long been known as the enfant terrible of French fashion.

Many of Gaultier’s following collections have been based on street wear, focusing on popular culture, whereas others, particularly his Haute Couture collections, are very formal yet at the same time unusual and playful.

Although most people found his designs decadent at the time, Fashion editors, notably Melka Tréanton of Elle, Claude Brouet and Catherine Lardeur of French Marie Claire, were seduced by his creativity and immediately noticed his mastery of tailoring and later launched his career. In 1985 he introduced man-skirts, and produced sculptured costumes for Madonna during the nineties, starting with her infamous cone-bra for 1990 Blond Ambition Tour, and designed the wardrobe for her 2006 Confessions Tour. Gaultier has also worked in close collaboration with Wolford Hosiery. He promoted the use of skirts, especially kilts on men’s wardrobe, and the release of designer collections.

Jean Paul Gaultier caused shock by using unconventional models for his exhibitions, such as older men and full-figured women, pierced and heavily tattooed models, and by playing with traditional gender roles in the shows. This earned him both criticism and enormous popularity. At the end of the 1980s, Gaultier suffered some personal losses, including his lover and business partner Francis Menuge, who died of AIDS-related causes.

Gaultier designed the wardrobe of many motion pictures, including Luc Besson’s The Fifth Element, Pedro Almodóvar’s Kika, Peter Greenaway’s The Cook, the Thief, His Wife & Her Lover, and Jean-Pierre Jeunet’s La Cité des enfants perdus (The City of Lost Children). He currently designs for three collections: his own couture and ready-to-wear lines, for both men and women. In 1988 Gaultier released a dance single titled “How To Do That” on Fontana records from which came one of the first ever “single title” remix albums “Aow Tou Dou Zat” on Mercury records. The album includes mixes by Norman Cook, JJ Jeczalik, George Shilling, Mark Saunders, Latin Rascals, David Dorrell, Tim Atkins, Carl Atkins, and Mantronik. Co-written & produced by Tony Mansfield, video directed by Jean Baptiste Mondino. The album also featured a collaboration with accordion player Yvette Horner.

Gaultier has designed a number of the costumes and outfits worn by rocker Marilyn Manson, including the outfits for Manson’s Golden Age of Grotesque album. In France the costumes that he designed for singer Mylène Farmer gained much much attention.

In spring 2008 he signed a contract to be again and the fashion designer for her tour in 2009.

He’s also well-known for his exhibit in New York’s Metropolitan Museum of Art known as Bravehearts — Men in Skirts.

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ELEGANCE IS A QUESTION OF PERSONALITY, MORE THAN

ONE’S CLOTHING.

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All clothes by Jean Paul Gaultier Photography Gareth Powell and Simon Bremner Styling Roiston Nadin, Lauren Parsons and Hannah Murray

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