Jean Paul Gaultier by Haider Ackermann Review
From the moment the first model walked at Jean Paul Gaultier by Haider Ackermann, we knew things would be different than the all other Jean Paul Gaultier guest collaborations. Since Gaultier’s retirement, we’ve seen Chitose Abe, Glenn Martens and Olivier Rousteing take the helm, but none have done quite what Ackermann did in terms of interpretations of the house of Gaultier.
The first few looks of Jean Paul Gaultier by Haider Ackermann showed Ackermann’s ability for precision tailoring, and an adoration of shapes. Think: neatly-cut jackets and tops with unbelievable details and impeccable craftsmanship. A straight-cut top with a trailing tail revealed a crisscross bandage effect, while brilliant blue feathers were unleashed from a skinny suit like a fantastical plume. The closer one looked, the easier it was to see that this was a manifestation of Ackermann’s archives, with flashes of Jean Paul Gaultier represented in the minute details; a cobalt blue silk bustier, an overcoat done in the classic Ackermann silhouette, but embellished completely with straight pins to create a new otherworldly texture.
But was there enough of the quirky, stylistic aesthetic by which we know Jean Paul Gaultier best? Most of the looks in the Jean Paul Gaultier by Haider Ackermann collection reflected Ackermann’s very distinct vision with subtle, softer references from the house of Gaultier. Jean Paul Gaultier’s couture historically has very specific house codes, and it felt a little bit like this collection represented Ackermann’s own foray into couture rather than a tribute collection designed with Gaultier’s work in mind. Especially since the three previous guest designers seemed to make many efforts to include references to Gaultier. At first glance, many of the pieces were much more minimal and inherently simple, with a focus on tailoring and shape. Would you know it was designed for the house of Jean Paul Gaultier at first glance? Probably not. Ackermann seemed to take more creative liberty when interpreting the idea of the collaboration, but it worked. The craftsmanship and technique is what did allude to the skill and heritage of Gaultier as a designer.
Most remarkable in the Jean Paul Gaultier by Haider Ackermannn collection were the transformational shapes. Cocoons of fabric swelled up from column dresses and managed not to overwhelm the body. The tops of gowns wrapped around the neck in extreme, futuristic textures. Hoods cascaded over heads in the most dramatic, couture-like way. Unfortunately, much of Ackermannn’s work here seemed to be designed for very skinny, tall, lean bodies with its sharp lines and clean, minimalistic shapes that rely heavily on an incredibly slim silhouette–and the models also suited that narrative. Given this is couture, it will be interesting to see how clients–who typically aren’t sample size–make the looks their own, and, who, if anyone, opts for these pieces for the upcoming award shows. Jean Paul Gaultier’s couture shows pre-retirement cast a variety of people in terms of gender, age, race and size, opting for iconic ’90s models, celebrities and friends of the house as well, and this collection didn’t do that. But that’s ok because the models delivered with their walks and attitudes.
More on that; Jean Paul Gaultier has historically been a fashion house that allows–and celebrates–humor on its haute couture runways, and if anything felt at odds with this collaboration, it would be that. Jean Paul Gaultier by Haider Ackermann took itself very seriously, and that’s not necessarily a bad thing, but it did create a unique mood of its own. Attending a Jean Paul Gaultier show prior to the designer’s retirement (and arguably, with Rousteing’s and Martens’ collaborations as well) was like witnessing a Shakespeare performance in the way that one literally experienced every emotion. Here, a heavy house beat played in the background with whispers of a voice breathily demanding, “look at me.” Models stalked down the runway and slowly glanced at people in the audience. There was also geometric hair by Eugene Souleiman and bright swatches of crisp, linear makeup by Lucy Bridge. The walks, the makeup, and the soundtrack had a very John Galliano for Dior circa early 2000s vibe. But also, for the first time since setting up the revolving door of guest designers, the venue felt calm, serene and quiet–almost the opposite mood of what Gaultier and the other collaborative guest designers did. It was different, and the shift was welcomed.
More than anything though, the Jean Paul Gaultier by Haider Ackermannn collection proved that Ackermannn is one of the most quietly prolific designers of our time. His work presents a serious thought starter on severe women’s tailoring and sleek minimalism, now through a couture lens. Ackermannn stopped showing collections under his namesake label in 2020, but perhaps after showing his talent under Gaultier he’s ready to shine again. We think he’s definitely proved that he’s primed to lead a major heritage house and would surely bring something different to the current landscape of mainstream fashion houses. What would Gucci look like under his direction? Or even Dior?
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