JPG'S Postmodern Fashion Art (Map)

Among them, the taper bra, the hairstyle of the egg head and the skirt and trousers that are exaggerated and tilted are the basic elements of Gaultier's creation in its fashion brand. We can also find archetype in his past Dance Dress creation.

Such a style, on the one hand, makes his "high" uniform uniform, and on the other hand makes his brand spirit gradually towards a new new human post modern state.

French contemporary

Liotta (Jean Francois Lyotard) thinks that the so-called "post-modernism" is not in modern times, but in the modernity of writing, processing and pformation.

From the perspective of Gaultier's cooperation with the performing arts groups, it is also possible to understand that Gaultier aims to explore the most powerful representation of human nature while capturing modernity.

In the general comment on Gaultier crossover to performing arts, most of them are talking about how his clothing design still maintains the flexibility of the dance dress while emphasizing the flexibility and rhythm of the dance, so that the dancers can act willfully, dance and split up, or play the decorative effect on the movie costumes.

However, such comments only focus on the functionality and practicability of clothing, and still can not explain the coexistence spirit of their brand and the intertextuality of performing arts, that is, the Modernity Significance of such pboundary.

Gaultier in the documentary "fashion countdown show" once said: "fashion is to" seize the catch. "

It is very similar to the definition of "modernit" by Porter Lyle, a French poet and art critic. "Modernity is pition, short and accidental, is half of art, and the other half is eternal and unchanging."

Similarly, when people (including creators themselves) often complain that models are always too short for Cat Walking, it is also hard to deny that clothing is the moment in which beauty is "pient, pient, and accidental" and is always missed. For example, the smile that men and women pass by on the road, or the secret of a cat walking around the corner, the task of all artists is to capture the instant of pition.

Gaultier, the fashion director, is even more powerful than the designer of the modern life painter, Constantinople, who rarely uses strokes to make sketches of clothes, but rather directly does the "Modernity" processing in front of models.

Simon (Miray Simone), the tailor director of Jean-Paul Gaultier brand, can be said to be the right-hand side of Gaultier. The work of the two people has reached a level of understanding. As long as Gaultier draws a circle around the front of the dress, she can fully understand what he means, and then hand it over to different departments, such as buttons, knitwear, embroidery and ancient Irish lace weaving techniques, and so on, so as to make her dream come true.

In addition, Gaultier himself will dance in the studio, showing his models, gestures and standing posture on the stretches, which is also an action designer.

If we think about the action of the costume itself, we will not be surprised by the brand orientation of Gaultier and the cross-border cooperation of modern French dance.

The creation of Gaultier and R e gine Chopinot all flourished in the late 1970s (Gautier founded in 1976, and founded by Xiao bopo in 1978), and the combination of costumes and dance went to 1983's "pleasure" until 1994, and a total of 13 works (including a movie) were developed.

Among them, the Via, which they work together, is the most modern work of magic feathers and dance. This work brings the principles of short films to the stage, which is similar to the energy traces of scientific narration and clothing under resonance. No matter the fleeting dance steps or the details of clothing and body shaping, they can reflect the instantaneous pformation time of each tense.

In the 90s, Gaultier also stepped into the art design field of film art. Whether it was the chef, the robber, his wife and her lover (1989), the extravagant banquet scenes, the multimedia weird girls in love, the girls and savages in the amazing Rhapsody (1995), or the extraterrestrial images in the fifth elements (1997) were all the attempts of Gaultier to extend the human nature of the times.

From the 12 Dance Co worked with Shaw in the past, to snow white this year's performance at Taiwan International Arts Festival, we can see more about Gaultier's display of humanity.

Gaultier helped the choreographer Poulet Jukka Preljocaj (Angelin Preljocaj) design of the heroine white gauze, at first glance, similar to his early Shaw combined with Shi Shangxiu's panties of magnifying skills, but after dancing the last five minutes of prince charming and the dying Snow White Dance fragments, seems to be able to find a tension explanation for the clothing: shroud.

After eating poison apple, snow white seemed to have no strength and inanimate response, but it was the most romantic and extreme human expression of the prince's autobia.

If we refer to Gaultier's creation of "past, present and future" staging thinking or functional thinking, we will fall into Liotta's "inhuman" state, and then miss the possibility of Gautier trying to explore the human terminal in modernity, and limit the possibility of processing this possibility.