Despite turning fifty this week fashion designer Jean Paul Gaultier is still referred to as the ‘enfant terrible’ of the French fashion world. And while he’s not getting any younger he still knows how to raise fashion’s impeccably groomed eyebrows.

Gaultier cuts a familiar figure in fashion circles with his bleached blonde crop and stripy tops but he is probably best known to the outside world for co-presenting Channel Four’s Eurotrash programme with Antoine de Caunes.

The cheeky and irreverent content of the programme suited Gaultier’s fascination with double-entrendres and all things suggestive. His trademark style is a humorous, eclectic challenge to the French establishment and sexual puns are a constant in his work.

Sexual ambiguity is another enduring theme in his clothing with androgynous women stalking his catwalk smoking pipes in pin-striped business suits or muscled boys modelling skirts and glittering bodysuits.

But underneath his notorious showmanship is an appreciation of cut, form and beautiful fabrics. Gaultier is a master tailor who can conjure fantastical garments from silks, brocades and lace.

Click on the gallery link in the blue box above to see hi-lights from Gaultier‘s past collections.

Born in Paris in 1952, Gaultier started his career in 1970 when he joined the house of Pierre Cardin. From there he went to work for Jean Patou before launching his own collection in October 1976.

This New Jean Paul Gaultier x Knwls Collaboration Is Catnip for Fashion’s It-Girls

Endorsements like these are the hard-won successes of a brand that has taken all the right measures to survive. No longer an emerging designer label and not yet a household name, Knwls occupies a rare (and therefore precarious) position in a hostile fashion landscape. “It’s about survival,” Arsenault says. “Brexit fucked young designers, and then Covid, and then Ukraine. The conglomerates took this as an opportunity to buy factories to try and snuff out the competition, but we challenged ourselves to learn about business. Now we need to compete with brands that are bigger than ours.”

Perhaps the apex of these efforts is a hand-braided corset that took a little less than 12 months to complete. It is almost mournful to look at. “That’s one of the most amazing pieces we’ve ever done,” Knowles says, holding an iPhone to the camera. “I can’t tell you how satisfying it was to work outside of commercial restrictions. I felt like a student again.” The piece is hourglass like a Jean Paul Gaultier perfume bottle, and its leather has been screen-printed to resemble an eroding vert-de-gris statue. It feels like a forgotten piece of arcana, a once-glamorous showgirl, stepping back into the limelight.

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From Dua Lipa To Bella Hadid, Knwls’s New Jean Paul Gaultier Collaboration Is Catnip For Fashion’s Favourite It-Girls

Endorsements like these are the hard-won successes of a brand that has taken all the right measures to survive. No longer an emerging designer label and not yet a household name, Knwls occupies a rare (and therefore precarious) position in a hostile fashion landscape. “It’s about survival,” Arsenault says. “Brexit fucked young designers, and then Covid, and then Ukraine. The conglomerates took this as an opportunity to buy factories to try and snuff out the competition, but we challenged ourselves to learn about business. Now we need to compete with brands that are bigger than ours.”

Perhaps the apex of these efforts is a hand-braided corset that took a little less than 12 months to complete. It is almost mournful to look at. “That’s one of the most amazing pieces we’ve ever done,” Knowles says, holding an iPhone to the camera. “I can’t tell you how satisfying it was to work outside of commercial restrictions. I felt like a student again.” The piece is hourglass like a Jean Paul Gaultier perfume bottle, and its leather has been screen-printed to resemble an eroding vert-de-gris statue. It feels like a forgotten piece of arcana, a once-glamorous showgirl, stepping back into the limelight.

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