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Rei Kawakubo

Alexander McQueen. Issey miyake. Rick owens. The Fashion World of Jean-Paul Gaultier. In the 1994 fashion satire Pret-a-Porter, by Robert Altman, designer and couturier Jean-Paul Gaultier appears as himself.

The celebrated French designer is the subject of a new fashion expo at the Montreal Museum of Fine Arts – agnesdelmotte

He has a shaved head and sailor-striped shirt and speaks in cartoonishly accented French.

The Fashion World of Jean-Paul Gaultier

“I think there is not only one idea of beauty,” he tells the perky reporter. “There is a lot of different kinds of beauty... I try to show, like, uh, a kind of tolerance”, 17 years later, 35 years after his first collection, and Gaultier — the subject and life-force of a new fashion exhibit at the Montreal Museum of Fine Arts — is ever the same. Shaved head, check. “I started with nothing, no money,” says the artist formerly known as l'enfant terrible. They are dazzling, these gowns; stupendous; de trop. “Because Gaultier is so democratic in his ideas, we wanted to bring the most haute couture to the widest audience,” says curator Thierry-Maxime Loriot—an ex-model, as it turns out. Not so for Gaultier. Galliano Nouveau maître de Maison Margiela. Le timing était moyen.

Galliano Nouveau maître de Maison Margiela

Au lendemain d’une semaine tsunami et de la plus grosse manifestation française depuis la Libération, qu’avait-on à faire d’un défilé de mode, quand bien même haute couture, quand bien même il marquait le come-back d’un de ses hérauts déchus et son association avec Maison Martin Margiela, une marque a priori antinomique ? On avait au moins une certitude : loin de ses saluts en Napoléon ou en pirate qui ont jalonné sa période Dior (1998-2011), John Galliano, 54 ans, désormais sobre post-rehab (alcoolisme avoué pour expliquer sa sortie de route antisémite de février 2011 dans un bar parisien), n’allait pas surgir en Charlie (celui de la BD), marinière et bonnet à pompon… On l’a de fait à peine entrevu, lundi à Londres, très Yves Saint Laurent en costume-cravate sous blouse blanche.

Dès les premières minutes du défilé, un souffle a circulé parmi la centaine d’invités qui se faisaient face sur deux rangées de chaises blanches. Hors diktats. Olivier Rousteing Named New Designer at Balmain. Olivier Rousteing The new era at Paris’s sex-charged fashion house Balmain is beginning to take shape, with 25-year-old Olivier Rousteing being tapped as the label’s new designer.

Olivier Rousteing Named New Designer at Balmain

Rousteing, who joined Balmain in 2009 and is currently in charge of women’s wear, replaces Christophe Decarnin, who left earlier this month due to strategic disputes with chairman Alain Hivelin. Before joining Balmain, Rousteing worked for five years at Roberto Cavalli, which should serve him well in delivering the decadent rock-inflected glamour that became the label’s trademark under Decarnin. Jacques Brinon/Associated PressChristophe Decarnin Decarnin will no doubt be a tough act to follow. Maquieira has been buying Balmain for his store since it segued into rock chic mode with Decarnin in 2005.

When Maquieira found a jacket he liked in last fall’s collection he took the unprecedented step and bought six of them. Pierre Verdy/Agence France-Presse — Getty ImagesBalmain’s spring/summer 2011 collection in Paris. "Queen Viv'" veut sauver la planète.

Yves saint laurent

Agnès b. : « Avoir la foi et être de gauche est absolument cohérent » 286 boutiques dans le monde, plus de 2000 salariés… Depuis 40 ans, la styliste Agnès b. mène un parcours singulier, mêlant création et engagement au service d’artistes et de causes humanitaires.

Agnès b. : « Avoir la foi et être de gauche est absolument cohérent »

LE MONDE | • Mis à jour le | Propos recueillis par Annick Cojean Je ne serais pas arrivée là si… … si je n’avais pas eu la nécessité de gagner ma vie à 21 ans, alors que j’étais toute jeune divorcée, avec deux bébés. God Save the Met and their Fuckin’ Costume Institute. Junya Watanabe (Japanese, born 1961), fall/winter 2006–7 (image courtesy of The Metropolitan Museum of Art, Photograph by Catwalking) If there is but one cornerstone of “Punk” as fashion, it is what Dame Vivienne Westwood dubbed “confrontation dressing.”

God Save the Met and their Fuckin’ Costume Institute

Swastikas, tampons, spray-painted swears, safety pins — these were the tools with which this particular postmodern machine of resistance, youth, and style were forged. The Metropolitan Museum of Art’s spring costume exhibition, Punk: From Chaos to Couture, hovered over the essence of this defensive dress, but skirted the issues of subculture to champion superficial style. Paul Cook, late 1970s (image courtesy of The Metropolitan Museum of Art, Photograph © Dennis Morris) In all fairness, this exhibition seemed doomed from the moment the title was announced. What could the Met possibly know about tit t-shirts? Personally, I thought the initial critiques were too reflexively dismissive and a tad unsubstantiated.