The Tamesis
Editor’s note: To commemorate the death of Jacqueline de Ribes, we will publish the Jean Paul Gaultier fashion show “Divine Jacqueline” inspired by her. The Spring 1999 Haute Couture collection was launched on January 17, 1999 in Paris.
In 1999, Jean Paul Gaultier was one of the only French designers to participate in a fashion show, and more recently London upstarts Alexander Lee McQueen and John Galliano have also penetrated the fashion industry. Although he always claimed to be restricted by the refined tastes of the Parisian bourgeoisie, Gaultier, who liked to play with Gallic stereotypes, has always been a protector of French style. This was reflected in his spring show titled “Divine Jacqueline.” “For me, Countess de Ribes is the embodiment of Parisian fashion. She is an icon; Avedon’s photographs of her made me fall in love with fashion. It was only natural that I design a couture collection for her,” the designer said at the time.
The most obvious Derribe-isms were the models’ upturned hair and makeup, but there was an air of restraint that was consistent with Derribe’s spare, classic style. Contemporary critics noted Gaultier’s references to other iconic French designers, including Madame Grès and Yves Saint Laurent; look at the smoking and beaded dresses. (The metal skeleton may also be a reference to Pierre Cardin, who hired a young Gaultier on his 18th birthday.) The reference to YSL prompted many comments. In October 1998, Saint Laurent withdrew from the ready-to-wear business (Alber Elbaz took over to continue running the series), and there were rumors in the industry that Gaultier would succeed Yves for a time. This never happened, but later that year Hermès, the epitome of French leather goods luxury, took a stake in Gaultier’s business. (In 2002, he became creative director of Hermès.)
One thing Saint Laurent and Gaultier have in common is their preference for denim. The former said he wished he had invented jeans, while the latter included upcycled denim in his first couture collection. Julia Schönberg’s denim dress that evolved into a marabou was a masterpiece of wit. Critics saw Spanish influences in the closing scenes with fans, but these were also coquettish “weapons” and they can be found in many French paintings, including those of Manet, Cassatt and Tissot
