Two slim figures in black suits — shoulders square, pants pegged over stilettos — appeared in the distance and tread slowly across a vast, ice-blue carpet as static fizzed and a heartbeat grew louder. When they approached, a viewer discovered the jackets were tailcoats, one with loose threads scribbled like hand-drawn pinstripes, the other fronted with a jabot of origami-like pleats — wholly new takes on masculine-feminine.
In a brilliant mind meld, Haider Ackermann etched the formidable fashion legacy of Jean Paul Gaultier with his own inimitable hand — minimal and rigorous, yet with some sexual heat simmering underneath. “Sometimes we forget the essence of his work, which was immaculate,” Ackermann said after he hugged Tilda Swinton long and tight, and posed for photos with Gaultier, Catherine Deneuve and a torrent of well-wishers. “I wanted to get back to what I love from him.”
In an interview with WWD last November, Ackermann cited a wish to exalt Gaultier’s quieter side — his tailoring prowess and dressmaking wizardry — rather than the zanier, more theatrical designs that grabbed more headlines over the years.
His versions of tuxedos were all sharp angles, unexpected slashes here and tabs of gently frayed ribbons there; his cone bras artful folds of thick satin; his bomber jackets bristling with pin-like embroideries, and his siren gowns intricately pleated to suggest female anatomy without photo prints, as the founder might have.
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