Gaultier together with Galliano is a provocateur.

Gaultier together with Galliano is a provocateur.

His own collection was presented in 1976 (with the help of Francis Menuge) and only in 1981 he finally developed his own style, yeah, it was bold, street-like, unusual and a bit strange, but it was fresh and bright, it made a revolution in tired from classic France.

Gaultier designed a notoriously famous cone-bra for Madonna Blond Ambition Tour and she returned to him in 2006. He worked with Luc Besson, while designing a wardrobe for his movie “The Fifth Element”, Marilyn Manson, Pedro Almodóvar and other celebrities.

If you have ever seen at least one catwalk from Gaultier, you will understand, why for many years, he had a reputation of a really bad boy of the fashion world - his models are unconventional (fat women, old men etc.), gender roles are switched… But, nevertheless, he is still popular.
Where Gaultier is, there is an intrigue. He has one of the most recognizable faces in the world.
But, clothes making is not his only talent, he makes even more popular parfumes (actually, I adore them. I have never met more long-lasting fragrance. The first fragrance from Jean-Paul Gaultier is - Classique. It has seen the world in 1993 and is a women’s floral-oriental perfume. It was on the top of sales. And still is rather popular, especially in Europe, Australia and the USA

In 1989, Lean-Paul Gualtier produceed an album of house music called How to do that?, in which, based on extracts from an interview given to the BBC in a sort of pidgin English, he cut and spliced together a bewildering string of words and sounds, subsequently remixed by, among others, rap, house and rai musicians.

The video for How to do that?. made by Jean-Baptiste Mondino, shows a so-called creator, played by Gaultier himself, who is being pressed to answer the questions of an invisible journalist seeking definitive answers about the why and wherefores of fashion. Upset by the interrogation, the victim racks his brains, sweats blood and tears and gets himself tied up in knots, mumbling a series of contradictory rehearsed responses, while feverishly turning out sketches that end up in the waste-paper basket. What gets him off the hook in the end is a frenetic ballet involving scissors and models, the uncordinated display or collage mirroring the random nature of the clothes.