The Tamesis
Editor’s note: As part of Vogue Runway’s ongoing effort to chronicle the history of fashion shows, we’ll be wrapping up 2025 by adding new digital shows to the site. The Fall 1991 ready-to-wear collection was presented at the Cirque d’Hiver in Paris on March 15, 1991.
At Jean Paul Gaultier’s fall 1991 show, more than 125 looks were shown in about an hour. Gorgeous blue velvet curtains were installed in the Winter Circus space, and models walked inside a blue circus painted with yellow stars on a surface smooth enough to skate on. As if that wasn’t enough, in the finale, cancan dancers walked down the sides of the curtain, swinging their foam skirts and kicking their legs high into the air. Plus is plus.
Just as important as this choreographed chaos were the costumes themselves. The main line is that Gaultier transposed the elements of the 1890s into the 1990s. The first model to appear bore a striking resemblance to Yvette Guilbert or Jane Avril. Both were famous cabaret performers at the end of the century in France, and were the favorite subjects of the painter Henri de Toulouse-Lautrec. The former sings and the latter dances.
Dressing, like acting, is a form of self-transformation. Throughout his career, Gaultier took this philosophy further than most, creating clothes that could be worn in a variety of ways. Here, one of his main focuses is on rectangular or square pattern cuts. The fabric is kept loose, drape and form a handkerchief hem. If it’s a narrow-waisted jacket, fold the ends over and button the bottom center back to create nice volume.
Colorful leggings brighten up many looks. Pants often have side stripes on the inside and outside seams, which create an illusion of narrowness. The candy cane stripes and slim waistcoats seemed inspired by the clothes worn by weightlifters, hawkers and circus performers in old-time circuses.
Skateboards, skates, and skate-like apparel emphasize the winter theme, as does faux fur trim at the wrists, hem, or throat. There’s a photo of Toulouse-Lautrec wearing an Avril feather boa that could have been on the collection’s mood board; a more modern reading recalled Cruella de Vil.
There is a sportswear theme within the sub-theme; look at the hooded jacket and stylish leggings. Gaultier also indulged in his fervent British fanaticism. The handprinted piece reads Rusco meets Vivienne Westwood’s “Earth Nostalgia.” One model wore a bodysuit that covered her face from head to toe, seemingly paying homage to Leigh Bowery.
According to reports at the time, the show was delayed an hour due to the door crash. Those who passed the bouncers were greeted by dancers who “handled out sweets and bouquets of violets at the door, while bar singers crooned old French ballads,” Reuters wrote. For Gaultier, life has always been a cabaret.
