Jean Paul, you slay me!
Jul. 8th, 2006 10:39 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
zalenaGaultier has always had an interesting relationships with fetish wear. His gowns consistently end up on the Hollywood's Worst Dressed list, in part because there is something about them that is not quite appropriate to express in public. They are a little bit dangerous, and seem to express a private, boudoir, part of the personality we are not really sure we want to see parading around the streets or plastered on the covers of our favorite celebrity magazines.
He has had some really lovely Couture collections these past few seasons, and I always look forward to what he does next. One of my favorite aspects of his clothing is that it always uses fashion as an extension of the body, like tightly fitting hoods that connected to his gowns via the spine, that he did several years ago (Fall 04?) There is something organic about his creations, almost as though it is not certain where the body of the model ends, and his creation begins.
This fall is no exception. There is something slightly Technicolor about all the Coture collections and cuts this year, like watching a foreign film from the 1960s about circus performers from the fin de siecle. Gaultier's collection fits with this theme, his gowns would not look out of place in the boudoirs of 19C courtesans, with their provacatively sheer panels, and hair top hats, which look like they have either grown on the model, or the model is beginning to grow over the hat/gown. Where does one begin and the other end? Do we even want to know? The models look like complete creations, they seem less designed to be undressed, than to provocate dressed. One would not be surprised at all if these dresses were designed NOT to come off for intercourse.
I have some favorites: the sheer black gown (lower right hand corner of the second page) which uses lighter panels of fabric to create a striped effect, integrating the belly button and the pubic area as detailed esign elements of the dress. Gorgeous. Don't forget to look at the next picture which is a dress featuring a bustier of distressed (almost disentegrating) leather, as though the model is about ready to shed her hide transforming her from alligator to nymph. Not only is it a gorgeous gown on its own, in the background is the rear detail of the sheer black gown, which has gorgeous back lacing.
There is a lush, brown velvet gown with a fox chained across the front. Make sure to check the back detail of this dress, too. The tail of the fox is extended around the back to finish in a supernaturally long, sweeping tail around the back of the dress.
There is an electric blue gown that has sheer cut outs for the nipples, and the eggplant gown that has straps spidered across the torso like some sort of new rib-growth. These women aren't just provacative, they are voracious, and the top hat motif looks as though they have devoured male clients so that there is nothing left but a hat.
But most elegant are two varients on the same design, a black dress with a darker panel falling from the shoulders to the waist, then forming a deep V past the hips. It's a simple idea, but the proportions are different than have been seen before, accentuated the width of the hips. Gaultier adds several ridges of material around the hips on the second floor-length version giving an illusion of a pelvis that could accordion out to extradinary accommodations.
See for yourself:
http://www.elle.com/collections/8987/jean-paul-gaultier-fall-2006-haute-couture-collection-page2.html
He has had some really lovely Couture collections these past few seasons, and I always look forward to what he does next. One of my favorite aspects of his clothing is that it always uses fashion as an extension of the body, like tightly fitting hoods that connected to his gowns via the spine, that he did several years ago (Fall 04?) There is something organic about his creations, almost as though it is not certain where the body of the model ends, and his creation begins.
This fall is no exception. There is something slightly Technicolor about all the Coture collections and cuts this year, like watching a foreign film from the 1960s about circus performers from the fin de siecle. Gaultier's collection fits with this theme, his gowns would not look out of place in the boudoirs of 19C courtesans, with their provacatively sheer panels, and hair top hats, which look like they have either grown on the model, or the model is beginning to grow over the hat/gown. Where does one begin and the other end? Do we even want to know? The models look like complete creations, they seem less designed to be undressed, than to provocate dressed. One would not be surprised at all if these dresses were designed NOT to come off for intercourse.
I have some favorites: the sheer black gown (lower right hand corner of the second page) which uses lighter panels of fabric to create a striped effect, integrating the belly button and the pubic area as detailed esign elements of the dress. Gorgeous. Don't forget to look at the next picture which is a dress featuring a bustier of distressed (almost disentegrating) leather, as though the model is about ready to shed her hide transforming her from alligator to nymph. Not only is it a gorgeous gown on its own, in the background is the rear detail of the sheer black gown, which has gorgeous back lacing.
There is a lush, brown velvet gown with a fox chained across the front. Make sure to check the back detail of this dress, too. The tail of the fox is extended around the back to finish in a supernaturally long, sweeping tail around the back of the dress.
There is an electric blue gown that has sheer cut outs for the nipples, and the eggplant gown that has straps spidered across the torso like some sort of new rib-growth. These women aren't just provacative, they are voracious, and the top hat motif looks as though they have devoured male clients so that there is nothing left but a hat.
But most elegant are two varients on the same design, a black dress with a darker panel falling from the shoulders to the waist, then forming a deep V past the hips. It's a simple idea, but the proportions are different than have been seen before, accentuated the width of the hips. Gaultier adds several ridges of material around the hips on the second floor-length version giving an illusion of a pelvis that could accordion out to extradinary accommodations.
See for yourself:
http://www.elle.com/collections/8987/jean-paul-gaultier-fall-2006-haute-couture-collection-page2.html
