JEAN PAUL GAULTIER HAUTE COUTURE - Lot 21

Lot 21
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JEAN PAUL GAULTIER HAUTE COUTURE - Lot 21
JEAN PAUL GAULTIER HAUTE COUTURE Cabaret" black satin tuxedo ball gown, "Ze Parisienne" collection, Spring-Summer 2002 A black satin 'Le Smoking' combination ball gown and trousers "Cabaret", "Ze Parisienne "collection, Spring-Summer 2002 Look no 60, labelled, the back-laced bodice with hook and eye closures to front, curved pannier-like hip panels, the attached skirt with curved rear tails, lined in tiers of goffered black tulle, the black wool trousers with 'le smoking' style satin side stripes, dress bust approx. 92cm, 36in, waist 56cm, 22in; the trouser waist 66cm, (2) It took 236 hours to complete this ensemble Mouna Ayoub liked this collection so much that she commissioned three looks - "Cabaret" being the most opulent. Jean-Paul Gaultier's love of corsets is of course legendary. Mouna Ayoub also confesses that she "really loves a corset!" While some might consider the corset a symbol of female oppression, Jean-Paul Gaultier regards them as symbols of sexual freedom and empowerment. His famous muse Madonna agrees stating: "The practice is oppressive only if it is forced, and women today can choose to wear them or not; it is up to them. Plus I wore those corsets as garments - on the outside - not as underwear hidden beneath my other clothes... I think that inversion of the concept of the corset is what turns it into a symbol of feminine power and sexual freedom." 'The Fashion World of Jean Paul Gaultier' published by Abrams, edited by Thierry Maxime Loriot, p71. Jean-Paul Gaultier in an interview with Vogue Magazine 2012 confirmed "I always saw a corset as an armour, and the women wearing it as warriors. I think women are the stronger sex, and even if they used corsets to seduce it would be on their own terms." For this ensemble Jean-Paul Gaultier eschewed the 40s pin-up style corsets he favoured in the 80s and 90s and instead chose a beautifully constructed, heavily boned 19th century inspired example, more typical of Toulouse Lautrec's Paris. The ensemble was time consuming and therefore expensive to make due to the numerous fittings required for the corset. Mr Pearl (aka Mark Pullin) is a renowned corset maker, who has also collaborated with couturiers -Thierry Mugler and John Galliano states. He describes the painstaking process: 'It takes a minimum of three fittings and about a month to make one corset, which has to be made to the specific measurements of the person who will wear it", 'The Fashion World of Jean Paul Gaultier', published by Abrams, edited by Thierry Maxime Loriot, p156. The wide pannier-like rounded hips of the corset-basque which attach to the 'Le Smoking' overskirt and tails is also redolent of 18th century open dresses. The ultra-feminity of the corset with frou-frou edging and can-can frills to the skirt lining sharply contrasts with the severe masculinity of a man's black tuxedo - the trousers with traditional side-stripes. Mouna Ayoub wore this ensemble to the Annual Cannes Film Festival, 24th May, 2005. Provenance: The Mouna Ayoub Collection Image All rights reserved
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