Although the 1995 fall/winter Cavalières et Amazones des Temps Modernes collection is commonly known as the Cyber show, it is also widely referred to as the Mad Max show. Gaultier claimed backstage that, considering the emphasis on feminine silhouettes, ‘Mad Maxette’ was a more appropriate term. He emphasised that his vision centred on courageous, confident, Amazonian women rather than post-apocalyptic machismo.

In a 2024 article written by Stephanie Sorn for Vogue, on the exhibition CinéMode par Jean Paul Gaultier, the designer explains.

“Cinema has been my constant source of inspiration, and I have made full collections inspired by movies, like my fall/winter ’95 Mad Max collection – or, should I say, “Mad Maxette.” I have been inspired by the scavenger aesthetic of the films and the way it portrayed technology. The collection was intended for an Amazonian woman who is courageous, confident, and very much in control of her life.”

The collection’s models and their dress projected self-sufficiency and resilience, drawing on the scavenged, improvised aesthetic of George Miller’s Mad Max films.

Despite the Junior Gaultier label ending a year earlier, I think this is an important collection for Junior fans as it continues the themes of Les Tatouages and Le Grand Voyage – unconventional beauty and multicultural references – while introducing the influence of digital culture to a tribal generation.

Gaultier mixed futuristic sportswear in the form of technical fabrics and printed lycra with historical references, such as Renaissance velvets embroidered with motherboard-like motifs, making me wonder if the characters in the show had raided a museum to revamp their wardrobes. Alternatively, were they representatives of the Victorian steampunk subgenre of science fiction and a fashion style?

Looking back today, it’s easy to see how the collection anticipated the growing relationship between fashion and technology, as at the time of the collection, Gaultier was also working on the costumes for the science fiction movie The Fifth Element.

“In that period I was doing the clothes for Fifth Element, which you can see also in my collection. It’s not The Fifth Element, but I was into that spirit, you know.“ Jean Paul Gaultier.

Further cementing the collection into fashion history, the show was memorable for a number of reasons beyond the clothes. A motorcycle burst through a cloud of smoke to open the show, Carmen Dell’Orefice carried a hawk, and visibly pregnant model Claudia Huidobro walked out, challenging conventional runway casting.

Who is Mad Max?

If you haven’t seen the original (or any other) Mad Max movie, it’s set in a dystopian near-future Australia which is facing a breakdown of civil order primarily owing to widespread oil shortages and humanity’s destruction of the environment.

The villainous gangs from the movie wear an aggressive aesthetic characterised by an asymmetrical layering of mismatched, soiled fabrics and scavenged protective sports gear, worn over leather. To further emphasise the apocalyptic punk look, shaggy fur collars and feathers, topped with eclectic helmets and industrial eyewear, were worn.

Despite the original Mad Max being released in French cinemas in 1982, three years after its 1979 premiere in Australia, the film’s director, George Miller, claimed, “It was the French who really picked up on the first Mad Max movie. The French were the first to say that these movies are Westerns on wheels.”

Victor Vasarely and the Cyberdot Print

Alongside post-apocalyptic leather, fur, and feathers, the collection is much more than film costumes – there’s the “Cyberdot” print.

One of the most memorable aspects of the collection was a futuristic dotted print using trompe-l’œil and optical illusion, influenced by Victor Vasarely, known as the father of Op Art, a style incorporating optical effects to create a sense of movement. The pattern gave the impression that the body had been scanned, rendered, then reproduced back into flesh.

“I wanted to make the shape of a body in the Vasarely optical way”, Gaultier  told Vogue. 

Strewn across dresses and hooded catsuits, the designs appeared to map the contours of the models, transforming their bodies into a living digital landscape and reemphasising the athletic, Amazonian physique. These garments would later become some of the most collectable pieces from Gaultier’s career and have been frequently revived in contemporary fashion and celebrity styling (Iggy Azalea), as well as being reissued by the house in 2022.

Jewellery & Accessories: History Meets Technology

In my opinion, jewellery plays less of a part in the show than in other collections. However, there are some quite striking cross-shaped pendants with red accents that resemble cabochons, giving the jewellery a warrior-inspired technological quality and blending found-object aesthetics with religious and industrial references.

This tie is one of the most striking accessories from the collection. By layering Renaissance-inspired female figures over a printed circuit board, Gaultier merged history and technology into a single design. It’s a small detail that perfectly captures the spirit of the Cyber collection, where the past and the future constantly collide.

Perhaps the collection’s most recognisable accessory is the range of bags finished with Gaultier’s distinctive metallic patina print. Still regularly found on vintage resale sites, the design mimics the appearance of oxidised copper, blending verdigris greens, burnished browns and oil-slick blues beneath a glossy lacquered finish. Like so much of the collection, the effect is both industrial and strangely beautiful.

Creating the Cyber Look: Topolino’s Digital Makeup and Futuristic Hair

Iconic, highly influential French-Italian international makeup artist Topolino did the makeup for the show, which, when paired with hair in braided styles and dreadlocks, evoked visions of futuristic nomads.

“I wanted something like kind of digital let’s say, like digital makeup, blue makeup on pink hair. Punky, let’s say, even the hair was between the dreadlocks and the Marie Antoinette. It’s a mix of time.”

Topolino’s makeup for the “Cyber” collection transformed the face into a graphic surface rather than enhancing the model’s natural features. Large sharply defined geometric blocks of colour surround one eye, resembling a digital overlay, while the opposite eye is left almost bare, creating strong asymmetry. The natural and minimally shaped complexion forces the bold eye design to dominate. The lips are painted a pale metallic silver, giving them a futuristic, synthetic appearance. I think the look embodies Gaultier’s vision of “digital makeup” and perfectly complements the collection’s tech-tribal aesthetic.

Did Gaultier’s Cyber Makeup Predict Anti-Surveillance Design?

While researching the makeup for the show, I came across comparisons between Topolino’s designs and the experiments by artists in anti-surveillance makeup. Seen in retrospect, the makeup created by Topolino for Gaultier’s collection has striking parallels to the work of artist and researcher Adam Harvey, who developed CV Dazzle, a makeup and hairstyling technique intended to disrupt facial recognition software systems by obscuring features through asymmetry, high-contrast colour and the partial concealment of the eyes and bridge of the nose.

I love this accidental precursor to an aesthetic that disrupts automated facial detection. Whether intentional or not, Gaultier’s vision of “Cyber” anticipated a technological future that had not yet arrived, but one that now raises important questions about facial recognition, data protection and civil liberties.

Almost thirty years on, I still can’t decide whether Gaultier was imagining a world transformed by technology or one recovering from its failure. Maybe that’s exactly the point. Gaultier presented a future where Renaissance velvet, tribal adornment, industrial hardware and digital imagery coexist, leaving us to imagine what happened in between.

The post When Technology Met Punk: Jean Paul Gaultier ‘Cavalières et Amazones des Temps Modernes’ (Horsewomen and Amazones of Modern Time) (Mad Max) Autumn / Winter 1995-96 first appeared on Vintage Jean Paul Gaultier & Junior Gaultier Collections.

• Collection: Rap’sody in Blue
• Season: Spring/Summer 1990
• Location: Paris — archival location data unavailable
• Theme: Sportswear and modern tailoring

Runway cast

In the Summer of 1990, you could have given off those Tour de France vibes without having to climb the Alpe d’Huez, all thanks to Jean Paul!. This cycling jersey from the “Rap’sody in Blue” collection would have looked perfect in the club, as you danced to Adamski’s “Killer”, Snap!’s “The Power” or maybe whilst doing a bit of Voguing, courtesy of Madonna.

As a cyclist, I’m used to wearing tight lycra, but I’d have to pick my moment for wearing this out in public. I love the bold colour block design on this tight t-shirt, which is emblazoned with graphics, not unlike the sponsors’ logos on a professional cycling team’s jersey. I’ve emphasised this by teaming my cycling glasses and cycling shorts for the photo.

Some of the logos on this shirt recur throughout other garments from the Junior Gaultier line, including the “No. 1”, which features as the entire design on a t-shirt that I also own, which is from the “Rhapsody in Blue” collection of S/S 1990.

The circular “JG” logo was used on items from the F/W 1989-90 “Fantomas” collection, where it was made to look like it was on the metal cap of a champagne cork, which is known as a muselet.

The motif with the star in the circle clearly looks like a bicycle cog, and this too has cropped up on other JG articles of clothing, including a belt buckle, which is on my wishlist! The same goes for the “Junior Gaultier Star” image, which I’m pretty sure I’ve seen as a belt buckle.

This look reflects the broader styling seen in the collection, particularly the more overt hip-hop and street influences explored elsewhere.

Below, you’ll see that there was also a long-sleeved dress version of this design.

A renewed interest in Junior Gaultier

When I started this website focusing on the long-expired Junior Gaultier label, I did not expect its relevance to ever return — yet the house’s Spring/Summer 2026 revival suggests otherwise. The new “JUNIOR” collection is the first ready-to-wear collection by Duran Lantink for the house and directly references the original line of 1988–1994, celebrating its youthful energy, experimental spirit and playful approach to fashion.

While the collection divided opinion among long-standing Gaultier followers, certain pieces immediately recalled elements of the Rap’sody in Blue collection, with the revival drawing on familiar motifs and reinterpreting them through a contemporary lens, reinforcing how foundational these early designs remain within the wider Jean Paul Gaultier archive.

The revival even extends to accessories: for £330, you can dry off in style with a beach towel featuring an oversized Junior Gaultier logo, rendered in turquoise typography against a red ground with a contrasting blue border — a direct nod to late 1980s branding.

As the official press release notes, “… the DNA of Gaultier is not preserved — it is reimagined. Marinière stripes, tattoo mesh, trompe-l’oeil illusions — all twisted into a new visual language…”.

One item I’m particularly drawn to is the literal twisting of the original logo into a sculptural metal “Junior” belt buckle, attached to a curved burgundy leather strap that seems to defy physics. This idea of distortion and reinterpretation extends to sportswear elements, where the spirit of the Rap’sody in Blue cycling shirt reappears in the contemporary lycra top and shorts.

The return of cycling shorts — freedom, versatility, and no fixed rules

During the 80s and 90s, people began wearing cycling shorts as fashion, thanks to the influence of a few media icons at the time, including Princess Diana.

We’re used to seeing trends from past decades make their way back into high fashion, so it’s no surprise that bike shorts have seen a clear resurgence in recent seasons. In 2026, they are once again positioned as a versatile wardrobe staple, styled in ways that move easily between casual looks and, when paired with oversized tailoring, more considered outfits.

Me being me — and in the spirit of Junior Gaultier challenging rigid ideas around who clothes were “for” — should cycling shorts really be restricted to one gender?

I remember wearing cycling shorts myself in 1990, paired with a baggy vintage dress shirt, long before this combination felt remotely mainstream. At the time, it didn’t feel particularly radical, just instinctive — but looking back, it aligns closely with the kind of freedom Gaultier was advocating.

The Rap’sody in Blue collection sits within the wider Junior Gaultier collections 1988–1995, which trace the evolution of the line across its lifetime.

The post The Lycra cycling shirt that captured the youthful energy of Junior Gaultier’s “Rap’sody in Blue” S/S 1990 first appeared on Vintage Jean Paul Gaultier & Junior Gaultier Collections.

The collection

Gaultier’s “Fin de Siècle” show was held at The Musée des Arts Forains, a private museum of fairground and funfair objects housed in former wine warehouses of the historic Bercy market district. It was created from the collection of antiques dealer Jean Paul Favand and opened to the public in 1996.

The museum features artefacts from 1850 to 1950, including amusement rides, fair stalls, restored attractions, and over 1,500 individual pieces such as carousels, German swings, antique bicycles, Japanese billiards, and mechanical exhibits.

The collection focused on a century of fashion, fusing historical and modern elements, such as Edwardian silhouettes and Lycra. One key outfit, a nude Lycra mermaid dress, emphasised volume through chiffon layers that flared dramatically at the knees, topped with a black lace overlay depicting the Eiffel Tower. Also included were iconic Renaissance works of art, such as Leonardo da Vinci’s Mona Lisa and Michelangelo’s The Creation of Adam.

I don’t have many main line items, but I do love this shirt, with its elaborate baroque-style border featuring ornate scrollwork, lions’ heads, acanthus leaves, floral motifs, and decorative medallions. Like the sarong, it’s reminiscent of the engraved imagery found on banknotes or currency, consistent with the Spring/Summer 1994 “Le Grande Voyage” banknote aesthetic I’ve covered before. Inside the frame are two figures: a tall woman stands in a corset, arching backwards in a theatrical and cabaret-like pose, with pierced nipples, whilst a seated JPG tattoos the woman’s arm with the year ’95, after previously crossing out the years ’92, ’93, and ’94.

The show

Conducting pre-show interviews from an antique velvet-lined magic box that, through a trick of mirrors, made him appear to have no body, Jean Paul told Vogue’s Laird Borrelli-Persson that he didn’t want to repeat history: “It’s not modern to do an exact copy, you have to mix up the decades in order to achieve a modern silhouette.”

From the same box, a decapitated JPG elaborated to a CNN reporter, “I tried to capture a synthesis of each period: the silhouette that was the most important, the print, the fabrics. It’s a mix of the periods I love and admire, what I remember most about each of them. But it wasn’t pretentious. I’m not trying to make it better than they did then, because it’s impossible to make it better.”

The show’s epicentre was a carousel draped with sheer muslin and lit from within. As it began to turn, instead of horses, women were silhouetted through the fabric, appearing much like marionettes. The perfect start for a collection where Gaultier combines his favourite silhouettes from different decades to create outfits for the ’90s. Rather than a drab and musty venue, the lights and stalls were vibrant and perfect for a collection that breathed new life into elegant clothes from each decade: the ’20s, ’30s, ’40s, ’50s, and so on.

Lace, Lycra, and the Eiffel Tower

For me, that star of the show was the aforementioned fishtail dress, mixing underwear and eveningwear, blending modern materials with historical silhouettes, and the past with the present.

You could say dresses, plural, as this is constructed as a two-part ensemble. The underlying dress is a body-hugging, dark nude Lycra foundation that flares into a dramatic mermaid hem of layered chiffon. The black lace overlay piece has scenes of Paris by night (the moon and stars are out), the Eiffel Tower, and Gaultier’s initials woven into the design. Big, far-from-elegant chunky zippers secured both dresses.

I love the contrast between the softness of the nude Lycra and the structured black lace, echoing the steel-framed construction of the Eiffel Tower.

Gaultier the strongman

I love the imagery of our hero JPG posed as a circus strongman, with its antique framing and nostalgic circus-era mood. That’s how I read the one-shoulder leopard-skin garb. Circus strongmen were a major part of late-19th- and early-20th-century sideshows and travelling circus culture, often performing larger-than-life feats of human power. Gaultier’s humour and subversion of traditional body stereotypes, along with the use of leopard print, are all represented here. Jean Paul also used elements from the banknote print seen in the Spring/Summer 1994 collection, “Le Grande Voyage.”

The strongman theme was previously explored in “Casanova at the Gym” for Spring/Summer 1992, while the show invite artwork for “Adam and Eve: Rastas of Today” from Spring/Summer 1991 uses a variety of sideshow characters.

Looking to the future

While Spring 1995 looked back at the past 100 years, Fall 1995 looked into a post-apocalyptic future that fused op-art body prints, industrial styling, and a strong Amazonian woman power fantasy.

The finale: A Madonna Gaultier runway moment

I love a JPG finale, and although not as crazy as Fall/Winter 1992’s “Europe of the Future”, the show climaxed with theatrics courtesy of Madonna in a wedding dress pushing an antique pram whilst holding a white poodle.

Jean Paul Gaultier Spring/Summer 1995 Fin de Siècle runway show featuring Madonna’s iconic finale.

The post Gaultier Perfectly Blends Vintage Fashion to Create Modern Style in ‘Fin de Siècle’ S/S 1995 first appeared on Vintage Jean Paul Gaultier & Junior Gaultier Collections.

Gaultier’s Spring/Summer 1993 collection included some of his stranger things, taking us to the upside-down world of Paris.

Several of Gaultier’s iconic design elements were reinvented in the collection, including the Breton stripe, conical bra, and lingerie-style garments. Despite garments being playfully deconstructed by turning them upside down and inside out, and the strong role denim played in the collection, his high standards of tailoring shone through.

If it weren’t for the leather belt dangling lifelessly, the subtlety of a pair of black trousers turned upside down would be lost. The upside-down shirt worn as a skirt was less subtle and perhaps less wearable. A mini dress with a waistband at the hem and a slit in the skirt by way of a fly opening, on the other hand, works perfectly. Trousers worn high on the chest turned waistbands into bustlines, in a style more eloquent than the tit waists of British old age pensioners.

As the title of the accompanying men’s collection “Andro Jeans” suggests, this reversed structure of garments blew away conventional silhouettes and the binary gender expectations, giving a strong androgynous statement.

Genitalia-shaped canapes

In a very short and somewhat pointless article in the Independent on Thursday, 9 July 1992, JPG’s Love Ball is mentioned, where he presented his spring 1993 men’s collection in La Cigalle nightclub, before transforming the catwalk into a dance floor. The article reveals that “Boy George, who did a turn on the catwalk for Gaultier, sang to the guests as they chomped on a series of genitalia-shaped canapes,” and then alleges that “Michael Hutchence, lead singer of INXS, groped his girlfriend-model, Helena Christiansen.”

According to the article, the event was intended to debut Gaultier’s new range of jeans, which would retail for around £70 per pair, noting that the Junior line will now focus on “basic stretch clothing” – whatever that means.

Eau de parfum release

1993 was a busy year for Gaultier’s career; in addition to launching Gaultier Jeans, he also released his Classique* perfume, which marked his entrée into the fragrance sector. The truth is that all of the big fashion businesses generate the majority of their money from accessories like sunglasses, perfume, and purses. Many luxury products are considered out of reach for most consumers, but designer fragrances are a more affordable way to enjoy haute couture.

The image below shows a limited-edition rubber Classique perfume bottle case, released in 1994. Shaped in the now iconic sensual silhouette of a woman’s torso, it’s got a metal clasp that opens like a purse to reveal an atomiser.

*The fragrance was released as JPGaultier Eau de Parfum in 1993 and renamed Classique in 1995.

This collection forms part of the broader Junior Gaultier collections 1988–1995, charting the line’s evolution during its most defining years.

The post Turn upside down with “Gaultier Classics Revisited” S/S 1993 first appeared on Vintage Jean Paul Gaultier & Junior Gaultier Collections.

After seeing this cap on a second-hand online store, I quickly snaffled it as soon as I’d identified it as belonging to Jean Paul Gaultier’s Russian Constructivism collection from the Russian Constructivist Collection of Fall/Winter 1986-87.

It reminded me of the caps horse jockeys wear, and after seeing a reversible waistcoat from the same collection, I wondered whether part of this collection was inspired by the silks and colours used in horse racing. The tradition of racing silks began in England, with colours and various shapes used to represent a horse’s owner and to help race commentators and spectators easily differentiate between racehorses.

This reversible zip-front waistcoat of blue and black striped satin and black felted wool is stunning with its slightly cropped, structured silhouette and metallic appliqués, including Roman numerals and stylised Cyrillic-inspired characters, all of which contribute to a bold, Constructivist-inspired aesthetic. Having the option to hide all that detail by reversing the waistcoat seems crazy. Still, the simplicity of the vivid royal blue stripes, with a slight sheen, gives them a satin-like, luminous appearance against the darker contrasting stripes.

In the Hermes Fall/Winter 2025 men’s collection, Véronique Nichanian turned to the racetrack for inspiration with sweaters sporting bold chevrons and geometric patterns lifted directly from the vibrant stripes of jockeys’ racing silks.

A Jean Paul Gaultier men’s sweater and reversible waistcoat, from the ‘Russian Constructivist collection of Autumn/Winter collection of 1986-87. Photo used with permission from Kerry Taylor Auctions

Was That Martin Margiela at Jean Paul Gaultier’s The Russian Constructivist Show?

If you head over to YouTube, you can watch Loïc Prigent’s fashion documentary, Jean Paul Gaultier Raconte 1986! which features a rare cameo from the reclusive (to the point of people doubting his existence) Martin Margiela. Margiela, as Gaultier’s assistant at the time, joined other members of the Gaultier studio in the tradition of walking alongside the models.

In the documentary, a tall figure takes to the runway wearing a version of the cap above, a leather jacket, and the biggest, shiniest belt buckle you’ve ever seen. Gaultier cheekily asks, “Should I say who it is? I won’t…” “Is he well known?” inquires Prigent. “Yes, but not his face,” replies Gaultier.

The post Martin Margiela on The Russian Constructivist Collection Runway 1986 first appeared on Vintage Jean Paul Gaultier & Junior Gaultier Collections.

Q. I’m not familiar with your professional background; have you ever worked in fashion?
For about 15 years, I did store and visual fashion design for Magnin and Macy’s. When I was 20, I was with a modelling agency and was sent to Munich to an agency that had just opened there called Luisa. I stayed for about a year and went on a couple of “go-sees“ and then ended up meeting very nice people who would invite me out to parties and events all the time. It was very nice being that age and getting to do all these things, and no one ever tried to take advantage of me. I had a friend who was going to the University of Maryland in Munich, and I lived in the student dormitories with him (and everyone just assumed I was a student. I was over six feet tall and only weighed 129 pounds, which wasn’t the look back then. I didn’t get to model at any real shows until I was 26. The first was Versace.

Q. What’s the first piece of Gautier you remember buying? And when was it?
The first purchase was two things, fall 1985, an embroidered and beaded black bolero jacket that I’d seen a few celebrities wearing, and a purple sweater with woven black trim and designs flocked on in black velvet. I still have them both, oh, and there was a coat from the same season in black with quilted lapels and applied black ribbon.

Q. What is special about Gaultier to you? And is there one particular item that you feel epitomises Gaultier’s style?
Gaultier made me feel that was the way I should look; I never felt like it wore me. One of the nicest compliments I remember back then was a guy who worked in a store in San Francisco who said, “I like the way you wear your Gaultier, it’s so relaxed”. I loved the colors that Gaultier chose as well.

Q. You have quite literally got a treasure chest of jewellery, belts and even codpieces from the “Les Rock Stars” collection of Fall/Winter 1987. How often do you get to wear them?
I wear the belts almost every day. I’m lucky to have a few friends who like to go out to galleries and restaurants that will dress, so it’s nice to wear the things then. When it was all new, it was a bit more fun as so many people tried to be individual.

Q. Which of the many rock stars who have worn Gaultier over the years wears it the best? Pete Burns could be my favourite, as he has worn items from the Rock Stars and Western Baroque collections.
I think Sade used to look beautiful in Gaultier. In the music video for “Is it a Crime?” she wore a jacket from Gaultier’s ‘Le Charme Coincé de la Bourgeoisie Fall/Winter 1985 collection and a top from the same collection whilst performing “Is it a Crime?” live at the 11th season of SNL.

The lead singer, Martin Fry, and guitarist Mark White from ABC in the video for “The Night You Murdered Love” looked great in “The Rock Stars“ collection. Jim Kerr, the lead singer of the rock band Simple Minds, wore some great pieces. And Pete Burns in “Save You all My Kisses” is great, I have that whole outfit.
https://www.youtube.com/watch?v=dra8WN-JCIE

Q. Gaultier’s next collection, “Modern Retros” of Spring/Summer 1988, introduced the Junior Gaultier label, which featured a cropped leather jacket favoured by the rockstars of the time, including Holly Johnson (Frankie Goes to Hollywood) and David Gahan (Depeche Mode). Was the Junior line ever on your radar, and if so, are there any standout pieces from the label?
The first Junior item I ever got was a black denim jacket with a fishnet back. I used to have a couple of great t-shirts that had these rubber emblems on the chest, but they eventually crumbled off. I had a rubber belt with big coins that had stars in the center, and a pair of suspenders. I bought both the black and the white long-sleeved X-ray print T-shirts and still have them. They were $80 back then.

Q. Talking of codpieces, Gaultier was quoted as saying ‘Except for the medieval codpiece and the bra, garments have never had a gender”. I loved the “gender benders” of the 80s, such as Boy George, Prince, and Martin Gore of Depeche Mode, who wore bras. With more people becoming aware of gender diversity, do you think that dressing androgynously is more accessible now, and can you envisage a world where genderless clothing is the norm?
I think certain things are genderless depending on how they’re worn. That’s what I loved about Gaultier’s men’s skirt trousers and men’s skirts. To me, they never looked like drag. I think it’s interesting how you see more people now dressing in things that are not common. It’s nice that people can choose to be what they want to be; it’s so much better now. Everyone needs to realize that how other people choose to look and dress does not affect them.

Q. Do you think Gaultier’s collections from the ‘80s are still relevant and wearable today? (The jacket Souvenirs de Vacances with sunglasses attached to the arms wouldn’t have been wearable back in the day!)
I think most of the ‘80s pieces are wearable now, especially since it’s coming around again for people to seek out vintage. It’s really much more individual and rarer now to own those things, especially if they are in good shape. I like to say that back then, there were people who saved all their money and then really wore those things to death, and people with money who just wore them a few times. I’ve taken such good care of mine. So many things he did were not dry cleanable; if you did, they disintegrated, or if cleaned improperly, were just ruined.

But I think the leather jacket with the sunglasses was wearable, the pants with them down the back weren’t!
I went to 1992’s amFAR (The American Foundation for AIDS Research) show in Los Angeles and all the stars modelled Gaultier, including Billy Idol, who had that whole sunglasses outfit on. I still have the pass, invite, and the T-shirt that I was given at the event.

Q. Jean Paul Gaultier no longer uses rotating designers for ready-to-wear, but obviously thought that some collections were still relevant, due to the collaborations with Y/Project, KNWLS, and Sacia. What are your feelings on bringing complete archives back to life, especially when some of the ready-to-wear collections were exact copies of the originals?
I really wish he would do some exact copies of some old things. Some of the T-shirts from ‘87 and ‘88 are amazing. So many things he did back then would be cost-prohibitive now or just be too expensive for most people.

Q. Jean Paul Gaultier has recently dropped the Spring/Summer 2026 ready-to-wear “Junior” collection. It’s Duran Lantink’s debut collection in a permanent position for Jean Paul Gaultier, and I wondered what you thought of it.
I thought the recent show was mostly a disaster! With such archives to mine, there could’ve been so many things to update and present. However, I did like two or three things: the tribal print done on sheer fabric that had a 3-dimensional feeling to part of it, the sheer body suit with tattoos, and the large belt buckle. I’d probably buy the men’s nude body suit just to have it, if it wasn’t too high a price. I just wish it wasn’t such a hairy print!

Q. Would you ever wear a pair of Gaultier Crocs?
I was kind of interested in the Crocs collaboration until I saw them. I thought if anyone could make them interesting, he could. I was wrong!

Q. Do you think the Jean Paul Gaultier fashion house continues to influence fashion today?
I do think that it influences fashion today. It’s interesting how a new collection sells out, especially since it’s so expensive.

The post Reminiscing on amazing 1980s Gaultier with a Rock Star collector first appeared on Vintage Jean Paul Gaultier & Junior Gaultier Collections.

Gaultier’s Fashnost

Such was the prevalence of major fashion design houses in the mid-80s creating collections that incorporated Soviet themes and aesthetics, scholars at the Fashion Institute of Technology (FIT) coined the term “Fashnost”. The term is a combination of the words “fashion” and “glasnost”, which refers to the impact of social and political changes in the Soviet Union on fashion collections.

Jean Paul Gaultier’s Autumn-Winter 1986 collection is a significant example of ‘fashnost’, as it used Constructivist themes including Cyrillic lettering, block type, geometric shapes, and photomontage to reflect on the Soviet era’s sociopolitical climate.

Gaultier’s Russian Constructivist collection is a favourite of mine, for its bold graphical style. that draws inspiration from the visual language of the early 20th-century Russian Constructivist art movement. At a guess, anyone with a basic knowledge of Gaultier will be aware of this collection, along with 1993’s “Chic Rabbis” or 1996’s “Cyberbaba” collections.

The collection is highly sought after by vintage collectors, as its innovative mix of fashion and modern art marked a significant period in Gaultier’s career, showcasing his talent in blending avant-garde fashion design with political and cultural commentary. Once seen, the bright colour blocks, Russian text, and graphic-heavy designs will stay in your mind forever, despite much of the collection being in black. I love the T-shirt designs from the collection, which were a result of the collaboration with the brand Equator, and how the photomontage and graphics capture the original spirit of Constructivism.

The design below features an image of Artist Alexander Rodchenko’s 1924 Portrait of Russian Avant-Garde Writer Osip Brik, with the letters “LEF” prominently displayed on Brik’s glasses, which refers to the Left Front of the Arts. This avant-garde group advocated for the integration of art into everyday life and the creation of socially useful art.

Social commentary in the Constructivism movement

Constructivism was a particularly austere branch of abstract art formed by Vladimir Tatlin in Russia around 1914, and according to the movement’s manifesto, “Constructivism is a purely technical mastery and organisation of materials.” Constructivists believed that art shouldn’t be produced for the art’s sake, but as a practice for social purposes.

As the Russian Revolution marked the beginning of communism, one of the founders of constructivism, painter and graphic designer Aleksander Mikhailovich Rodchenko, used his diverse skills to produce the iconic works of the movement. Teaming his graphic design skills with photomontages of his documentary style of photography, he used the resulting imagery as a tool for social commentary.

One of the most famous pieces of constructivist art is the 1924 poster “Books! Across All Branches of Knowledge” by Alexander Rodchenko. It was commissioned by LENGIZ, a state publishing house in Leningrad, to promote literacy and education to the public by encouraging them to read literature in various fields of knowledge.

Inspiration for the Russian Constructivist collection

In a video on the Fashion Mood Board website, Jean Paul reminisces on the Russian Constructivist show and the genesis of the collection.

“One of my assistants who used to do the printing for me had found a book on Russian Constructivism. When I saw the book, I was dazzled by the graphics, the posters, the universe it presented, and the colours. The colours were fabulous. My whole range of colours was around that.”

He discusses his use of metal as an accessory on the clothing, using both the Roman numerals LXXXVI representing the number 86 and Cyrillic letters, whose text “ЖАН ПОЛ ГОЛЬТЬЕ” translates to “Jean Paul Gaultier”. The use of Russian text, both as metal appliqué and in print, reinforces Alexander Rodchenko’s mixed-media style.

Suppose you look at the bold leather jackets from the collection or the images of Gaultier’s illustrator, Pauline Binoux. In that case, you’ll appreciate the statement shoulder pads and cinched waist, creating a broad, powerful silhouette. Gaultier attributes Thierry Mugler as the pioneer of the straight, wide shoulder, adding how his take on it was to have the shoulders drop slightly.

“The idea came from the ’50s jackets. Too big. It drops a bit. Me it was in the spirit of the thrift. One takes the clothing which is not at the right size. Women took men’s jackets, and the shoulder would fall off. There’s padding, but it’s not fully supported by the shoulder.”

Not all of the collection was a blaze of colour; more sombre cardigan bodies, zipped crotch bodysuits, and leather one-piece booted trousers had their part to play, especially as they employed new construction techniques.

The collection used an elasticated wool knit technique that had been developed by Anna Maria at Fuzzi SpA, a company founded in 1979 by the Fuzzi-Vitale family, producing knitting outerwear in quality materials like wool, mohair, alpaca, most of the time blended with polyacrylic and viscose. This material could be cut precisely, creating neat hems, and due to the way the material held itself, jackets didn’t require any lining.

One of my favourite items from the collection was constructed in soft neoprene and inspired by a fencer’s clothing. This bodysuit is fastened between the legs, and rather than having the metal cups that protect the breasts hidden inside pockets, Gaultier placed them on the outside as a decoration.

About the top

In this very bright orange with the whole front adorned with silver transfers and faux gems, I would never have guessed it was from the Russian collection. Watch the show and you’ll see a far more sedate black ensemble of the top and matching trousers. Although it could be a bodysuit, as Gaultier reminisces about wearing a bodysuit in the same design for the Cannes Film Festival and being refused entry!

I got this item very cheaply from a resale site, with the seller saying the charity shop they bought it from claimed it used to be Boy George’s.

The quality of this top, considering the fact that it’s made of lycra and has all these gemstones on is amazing. Only two of the square gems were missing, and after laboriously scouring the internet, I got some exact replacements. I also drilled tiny holes in the gems (and my thumb) so that they could be sewn on to match the existing ones, rather than glued on.

When Jean met Tanel

Obviously, the models play an important part in the shows, and one of the things I admire about JPG is the diversity on his catwalk. One such model who walked in the Russian show was Teri Toye, referred to as the first ‘out’ trans model, and the muse of Steven Sprouse, who opened his 1984 show.

The elusive Martin Margiela also makes an appearance in the show, while he was still interning for Gaultier. He’s the model sporting a HUGE metal belt buckle under a leather quilted jacket.

The star of the show has to be Gaultier’s long-term muse Tanel Bedrossiantz, who walked in numerous shows for the designer over several decades. Often camp, but conversely suave and macho, you’ve probably seen the photo of him in a velvet cone-bra dress from Gaultier’s Fall 1984 collection.

During the video, Tanel Bedrossiantz is referred to, with Jean Paul recounting the first time he met Tanel when he came into the Gaultier shop to do some shopping. JP loved his look, and his haircut and thought he was cute “in a way that I saw Farida or Edwige, it was love at first sight” it was perfect timing because he would be perfect in my fashion shows. “People I felt attracted to, by their walk, by their look, I would fall in love with them and would make them walk.”

In a Vogue article by Laird Borrelli-Persson, Tanel recounts his side of the story, which started with him visiting the Gaultier store in June 1985 to pick up a sample for Babeth Djian (the founder and editorial director of Numéro magazine), who at the time was employing him at Jill magazine.

“I had been there twice before, for the same reason. The third time was the charm; Gaultier saw me and I caught his eye. By the time I got back to Babeth with my packages, he had called her to say he wanted me for the men’s show (Joli Monsieur, 1985) and his advertising campaign.”

Gaultier and the Word Up album

If you take a look at the cover of American funk group Cameo’s Word Up album released in 1986, you’ll see artfully blurry examples of Gaultier’s Russian Constructivist collection. On the credits of the record, Gaultier is credited as providing the clothing and graphic artist and costume designer Toyce Anderson is credited as the stylist.

In a Video wishing Gaultier a happy birthday, Cameo singer Larry Blackmon credits Gaultier as having a lot to do with the band’s style and things that they did on the Word Up album. Blackmon remembers how Toyce Anderson went to Bloomingdale’s department store to select items from the collection to see if the band was interested in wearing them, and of course, they were.

The band ran into Jean Paul in London in September 1987, whilst they were playing at Wembley Arena, and Gaultier invited them to his show in Paris. Cameo’s Paris tour venue, Le Zénith, was across the street from the show, so the band went there to see his show, then invited JPG back to their after-show. A couple of days later, Gaultier invited the group to his showroom and gave them a part of the collection that the models had worn.

The skirt above is from the Russian Constructivist collection, released through the Public Gaultier line and the text on the skirt, ПУБЛИКА ГОЛЬТЬЕ, translates to Public Gaultier.

The post Inspiration From a Revolution: The Russian Constructivist Collection Fall/Winter 1986-87  first appeared on Vintage Jean Paul Gaultier & Junior Gaultier Collections.

The Western Baroque show of Spring/Summer 1989 celebrated camp and rebellious queerness, with the menswear show mixing over-the-top cowboys, baroque fops, sailors, and printed layers explicitly rejecting good taste. Male models walked in gold cowboy chaps with polka dot shorts, flower print chiffon shirts, and gold lame waistcoats. Flamboyant and homoerotic ensembles came together with a hot cowboy in mini swim briefs and vinyl gloves sharing the runway with a dandy dressed in a red double-breasted jacket, brocade waistcoat, wide yellow slacks, and a walking stick.

Gaultier is an electronic star with his high-tech collection

One of the most unique accessories I’ve ever seen is the flashing sheriff badge from “Western Baroque”, which, after some investigation, may have been conceived in 1979.

In an article for February 1984’s The Face magazine, Jean Paul Gaultier photographed and described six of his most striking creations, including a high-tech suit from 1979 consisting of a three-quarter-length leatherette jerkin with embroidered electrical circuit boards. Gaultier explained the piece’s conception “We had the idea for the circuit drawings for a long while. My friend and partner Francis Menuge is mad about electronics; he designed a pendant necklace that flashed in time with the wearer’s heartbeat. But we were never able to persuade a manufacturer to market them, so we used them for our ‘High Tech’ collection. I always work like that, taking materials or objects and finding another use for them.”

Part of the same collection, and now iconic, are the tin can bracelets. The story of their creation starts with Jean Paul opening a tin of food for his cat and wondering what use the empty tins could have. He opened the other end of the can and there was a bracelet!

“It was the same with the ashtray bag.” Explained Gaultier, “Take an ordinary ashtray, deepen it with a sleeve of leather, and you’ve got a bag! I have a lot of fun with this modernist approach. Appropriating objects for my own uses.”

Gaultier’s Autumn/Winter 1995-96 collection would pick up on the circuit board theme in a homage to Mad Max.

Alyssa Milano

Stars wearing Gaultier

A very young Alyssa Milano in 1989 wears a cropped western shirt, leopard print skirt, belt and earrings, all from the Junior Gaultier Spring/Summer collection of that year.

Promoting the collection

A magazine advert promoting the “Western Baroque” and ‘Voyage Autour Du Monde Dans 168 Tenues’ collections. If you are interested in the Jean Paul Gaultier adverts of the 80s and 90s, check out this article on the graphic designers behind the Gaultier label.

Western charms

As well as the star, symbolic of a sheriff badge, a strong motif of this season’s collections is the dollar sign used in multicolour prints for shirts, and also buttons and clasps for braces and bra tops. This belt (highly positioned on my wishlist) throws Western symbols of horseshoes and six-shooter pistols into the mix to create another novel item of Junior Gaultier accessorisation.

The designers who have plundered the rich, inspiring Western theme over the years are endless. Ralph Lauren’s Fall 1978 (conservative fringes and big belt buckles), Claude Montana’s Fall 1984 (iconic big-shouldered silhouettes and even bigger collars, in leather with a futuristic aesthetic), and Marc Jacobs for Perry Ellis’s Spring 1992 (ruffles, neckerchiefs and stetsons).

The Western concept would be revisited for Gaultier’s Spring 2009 Menswear collection, which was influenced by vintage Western films, with fitted vests and pocket watch chains with cowboy hats and bandit bandannas around the models’ necks.

This collection sits within the wider Junior Gaultier collections from 1988 to 1995, reflecting the line’s development across its key period.

The post Flash Your Sheriff Badge at the Cowboys in Gaultier’s “Western Baroque” S/S 1989 first appeared on Vintage Jean Paul Gaultier & Junior Gaultier Collections.

The Pious Rap

Four years before the controversial “Chic Rabbis” collection, Jean Paul Gaultier’s Spring/Summer 1990 collection provocatively mixed religious imagery with fetishistic elements and featured nuns’ habits paired with garters and harnesses. 
In 1989, the Grande Halle de la Villette, also known as the Halle aux Boeufs, which once served as Paris’ cattle market, was transformed into a cathedral for the collection that will remain one of Gaultier’s most symbolic. 

The show opened with “Organ Donor” by DJ Shadow, with church bells, plumes of incense, and Gregorian chants creating a dramatic atmosphere. Praying models rise into view on rotating platforms, wearing nuns’ wimples and beautifully tailored pinstripe jackets. Musical artist Neneh Cherry introduces the collection’s sportier element, flamboyantly rising to the runway in an orange hooded chevron jumpsuit and green tights. Nuns don sunglasses to protect their eyes from the sight of men’s bulging underwear. By now, the nuns have gone feral and are smoking cigarettes, which is a terrible habit!

There is a lot of Junior Gaultier in this show, and if you’ve ever seen tops and cycling shorts with a circular cutout and the word “short” emblazoned on them, this is the collection they come from. 

The finale showcased vibrant satin, cage jackets, and harnessed outfits, which completed Gaultier’s distinctive fusion of high fashion and subversion. 

Gaultier’s Art Deco jewellery

Although it’s hard to see in the darkness of the show, there are a large number of Art Deco-style items of jewellery in the collection, from bracelets to massive dangling clip-on earrings. All of the variations are in a silver tone metal, and adorned with enamel, bearing inscriptions such as “Wonder”, “Diamant”, “Argent” and “Massif”. In the bottom section of the earrings, below, you can just about make out “ETE 90”, solidifying their place in the collection.

When religious art and fashion collide – Jean Paul Gaultier couture Spring/Summer 2007

For S/S 2007, Gaultier reinterpreted Catholic iconography from its roots in religious art, reimagining the halos of saints in perspex and metal, nun-like wimples morphing into the back of dresses, stained glass depictions of baby Jesus, sumptuous silks and satins, translucent fabric, and burning hearts imprinted into metal plates.

Models sporting faux tears in makeup and crystals mirror those from ‘Our Lady of Sorrows’, a popular theme in Catholic religious art in which the Virgin Mary is portrayed sorrowful and in tears, with either one or seven swords piercing her heart. A striking grey dress in the collection is divided by a blood-red organza section emanating from an appliqué heart and sword.

Despite the provocative elements of the collection, I sense Gaultier’s reverence and appreciation for the beauty of religious art in his designs. Sarah Mower’s Vogue review almost agrees, “… the tone, if not precisely reverential, wasn’t calculated to mock. Instead, his ingenious skew on church iconography seemed gently appreciative of its capacity for shining beauty.”

Watch a video of the show here to truly appreciate its sense of drama and grandeur.

Richard Lindner’s fetishistic cubist influence

Richard Lindner was a German artist who moved to America in 1941 to escape the Nazis, befriending other German displaced settlers, such as Albert Einstein and Marlene Dietrich. Linder was a successful illustrator for Vogue and Harper’s Bazaar, only taking up painting in his 50s. His style draws inspiration from cubism and pop art, resulting in abstract portraiture, often inspired by his experiences of the vulgar, fetishistic aspects of life in New York.

I have to say, I’m not a massive fan of Richard Linder, but after a bit of poking around, I can see some paintings of his that look like they could have influenced the “Les Rap’Pieuses” collection.

Corsage, from 1971, is a stylised, abstract painting of a female torso wearing a corset rendered in bright and saturated colours, including blues, yellows, reds, and greens. A long, vertical zipper runs down the centre of the torso, and the image could be seen as a blueprint for Gaultier’s 1990 collection. Incidentally, Lindner’s mother owned a custom-fitting corset business.

Another interesting painting is Girl with Hoop, which has geometric colour blocks with a single exposed breast, reminiscent of items from the collection, as well as the Junior Gaultier magazine adverts of the season.

Boutique Junior Gaultier in London’s Carnaby

Squint at the text in the black arrow in the advert below, and you’ll see it is promoting the Boutique Junior Gaultier store at Foubert Place in London’s Carnaby. If you take a look at the Soho Cityscape 1991/92 – The Comprehensive Guide to Soho & Theatreland map, you’ll see where the Boutique Junior Gaultier resided, among other shops of that time, including Zoo, Benetton, The Metropolitan Club, Bankrupt Clothing Company, Supreme, Pan Hogg, and John Richmond.

Interestingly, I have a vintage Junior Gaultier carrier bag that puts the Junior Gaultier store at Newburgh St, Carnaby, 100 yards around the corner! If you didn’t want to leave Knightsbridge for your shopping, Harrods had an in-house boutique called ‘Way In’ which I used to visit in the late 80s, that stocked Junior Gaultier.

The Joker-esque face in the advert below belongs to Claudia Huidobro, former supermodel and muse to Jean Paul Gaultier. The advert, as with many in the 80s and 90s, was designed by Thierry Peres.

Taking inspiration from the iconic Morris columns of Paris

The shape of the posh (and not very cost-effective) carrier bag below is based on the iconic green cast-iron advertising columns that are dotted around Paris. They were created in 1868 by Gabriel Morris, an enterprising French printer who specialised in event posters, to discourage flyposting. Knowing the history behind the design makes the bags even more impressive.

An invitation to the first Junior Gaultier store in Paris uses the same artwork as the paper bags, reading ‘Junior Gaultier Invites you to the opening of its first boutique, 7 rue du jour 75001 Paris on Monday, September 5 1988’.

As part of the Junior Gaultier collections 1988–1995, this collection contributes to the narrative of the label’s most influential era.

The post Provocative Religion and Fetishism in Gaultier’s “Les Rap’Pieuses” S/S 1990 first appeared on Vintage Jean Paul Gaultier & Junior Gaultier Collections.

Gaultier’s Spring/Summer 1991 “Adam et Ève” show featured both menswear and womenswear collections with a theme of romantic love.

The show starts very dramatically with birdsong filling the air, and through epilepsy-inducing flashes of dawn, the first models were ‘90s reincarnations of Adam and Eve. Adam wore a fig leaf and sported an ineffective-looking parasol, whilst Eve wore a bra with a serpent entwined around her bosom. Eve soon tempted Adam with a Pink Lady plucked from a cardboard tree of knowledge. Once the lights are up, Deee-lite’s “Power of Love” accompanies a less naked Adam and Eve down the runway, identically dressed in brown leggings, brown t-shirts and similar brown jackets with different silhouettes. Huge, untidy wigs are a theme of the show, fluctuating between black dreadlocks and pink Louis XIV hairstyles.

In an article entitled “The Maestro of Mayhem” in the March 1991 issue of Vogue, Georgina Howell captures the scene: “A black tunnel of metal girders, a man and a woman in matching candy-floss pink trouser suits and Marie Antoinette ringlets waltz in slo-mo, eye to eye.” Among the audience is Madonna, who declares to Howell, “This is my absolute favourite show. Always, always Gaultier, long before he did my world tour.”

Top photographer Herb Ritts—who, the previous year, shot the iconic portrait of Jean-Paul Gaultier embracing Madonna—documents the show, while fellow photographer Roxanne Lowit proclaims, “Gaultier is Vivienne Westwood plus couture and admiration.”

I’m interpreting that the pairs of Adams and Eves are wearing the same outfits, as they had previously been naked and worked together on creating their first form of clothing, possibly not being aware of the concept of gender and biological sex. Despite contrasting ensembles popping up here and there, the theme of nearly identical his-and-hers outfits stays strong throughout the show. I hadn’t realised how much I like brown until now, especially when juxtaposed with the muted tones of fuchsia and cyan.

I was told that the T-shirt I’m wearing above was from the “Adam et Ève” collection, and I couldn’t see the link, to be honest, until I saw the magazine advert for the collection. Next to billowy white chiffon clouds, two cherubs circle two men who are wearing similar suits in orange and pink, with hair colours that match their suits.

Reggae’s influence on fashion

Bob Marley, the poster boy for reggae music, is partly responsible for its association with the Rasta community, frequently including Rasta teachings and themes in his songs. Of course, Reggae’s influence isn’t limited to music; it has made a significant impact on global fashion and style. The bold and colourful clothing choices, often featuring rasta colours of red, green, and gold, have become synonymous with reggae culture.

With the rasta palette being all around us (including the official flag of Ethiopia), it’s easy to forget that the colours hold symbolic significance for Rastafarians and represent different aspects of their beliefs and identity. Red signifies the blood of those killed for the cause of the black community throughout history. Yellow signifies the vast wealth and riches which belong to the African continent. Green signifies the lushness of the Promised Land of Ethiopia.

Gaultier returned to the rasta influence, this time for couture in spring 2004, with a lot more emphasis on the culture. Hot on his heels, John Galiano followed with the Dior fall 2004 collection, using the Rasta colour swatches and Reggae imagery. In spring 2016, Tommy Hilfiger sent models down the runway in red, green, and gold, and even Christian Louboutin got in on the act with rasta-coloured heels.

Flamboyant choice

A 1990 LA Times article by Mary Rourke gave us her insight into the show:

“Showpieces include a coat for romantic-minded career women, which was navy blue pinstripe to the waist with a burst of navy blue tulle from there to the floor. The clear vinyl matador’s jacket embroidered in gold and jewels was the men’s wear item of flamboyant choice.”

I don’t think there’s any other way to wear a matador jacket out to dinner other than flamboyantly! The jacket, or “chaquetilla”, is the most important part of a bullfighter’s outfit, exquisitely crafted in silk and adorned with sequins, metallic thread, and embroidery.

Gaultier had a challenge trying to improve on the chaquetilla, but he managed it with his tried and tested technique of deconstructivism, floating the luxurious adornments of raised gold embroidery, sequins, green gemstones, and tassels made of golden silk over the form of a transparent plastic jacket. The jacket had an ethereal feel, with the components looking like a circuit board or the human circulatory system – all for the modest price of $10,000.

Gaultier prints from everyday objects

There are two similar prints that I know of from this collection, loosely resembling Hermès prints. One consists of vintage electrical fans, plugs and swirls of electrical cords. The possibly more male-oriented print consists of broken combs, electric shavers, razor blades, toothbrushes, and toothpaste tubes squirting out ribbons of toothpaste. The electrical fan print was featured on a variety of Junior Gaultier items, including dresses, bustiers, and even old-fashioned bloomers.

From the runway show invite to a T-shirt

If you are going to create a stunning invite to Gaultier’s Spring / Summer 1991 runway show, it makes sense to repurpose the artwork for a Junior Gaultier T-shirt.

This collection belongs to the wider 1988–1995 Junior Gaultier collections, which document the line’s progression over time.

The post Flamboyant Matadors in Exciting Colours “Adam and Eve: Rastas of Today” S/S 1991 first appeared on Vintage Jean Paul Gaultier & Junior Gaultier Collections.