 Good evening everybody. I'm Lisa Small, a curator of exhibitions here at the Brooklyn Museum and it has been That's the home that's the home team It has been my great pleasure to be the coordinating curator for our presentation of the fashion world of Jean-Paul Gaultier From the sidewalk to the catwalk, which was organized by Terry Maxime L'Oreal for the Montreal Museum of Fine Arts Before starting tonight's exciting program I just want to recognize and thank our exhibition sponsors Lexis, which has generously funded the Brooklyn presentation Botte Prestige Internationale the Wall Street Journal Piper Heitzic the standard Highline and our media sponsor W magazine. I also want to take a moment Yes, let's have some applause for the sponsors I also want to take a moment to let those of you who aren't yet members of the Brooklyn Museum know that tonight is an excellent night to join In addition to all of the great benefits that you would receive year-round if you join tonight You will be able to go upstairs and preview the Gaultier exhibition directly after this program And I know that there are people from our membership department outside the auditorium waiting to help you with that So two more quick words of housekeeping. Please take a moment now to silence your cell phones and know that There will be an opportunity at the end for a couple of questions and so their microphones set up the sides for that So and now you are all in for a great treat First we are fortunate to have with us tonight the curator of this amazing exhibition Please welcome Terry Maxime L'Oreal and I know it's a cliche to say now is the moment We've all been waiting for but truly now is the moment. We've all been waiting for Here to talk with Terry and share a little bit about his life his work his inspirations and this wonderful exhibition Please join me in welcoming Jean Paul Gaultier As many of you have seen in the exhibition when you enter you have the adessee it's really an exhibition about the passions and obsessions of Jean Paul Gaultier and At some point in the exhibition when you enter in the boudoir I think it's one of the things that fascinated me most about Mr. Gaultier is to see How as a child he was already, you know ready to be a fashion designer Yeah, how did you all see Nana the teddy bear? Yes So Jean Paul can you tell us what kind of child you were Like with Nana out the story started but first of all I was like Alone child. I mean like no brother. No sister. So I was alone my grandmother. Let me see Let me do everything I wanted. So I wanted to have a doll but my parents didn't want that So it's why I have teddy bear, but that teddy bear I tried to transform it It was the first transformer. Let's say that I did so I did for my teddy bear Experiment the con bra, which I did the first before Madonna. I did long time before you know So he was the first that I experiment and like with those pointed make with carton with paper You know like newspaper on ear like that. You can see it is there on that teddy bear already I make sure come on the relation between fashion and what's happening at the moment in the society So I was looking at the TV. I was seeing for example It was a wedding of Fabiola of Belgium or Belgium with Baudouin. So my teddy bear I marry him. So I make a Wedding dress, etc. After it was the operation from Canada Will the professor Barnard who did like the operation of open art So like I have already put the con bra to my teddy bear. I couldn't I couldn't put it here the operation So I do it in the stomach, but they did the operation. So everything that was happening I was doing putting makeup and do everything. It was my co-buy. I don't know if you say that in English But it's been like experimental Little beautiful animals that I love down there, but I put acupuncture to him because everything I was I was Sowing like doing you his little pins, you know So that was a part of what I was doing with him, but also I was looking at clouds I was looking at Clouds, so I was looking in the clouds like to see faces old faces Angel anything, you know, I could see it's good because it let you when you are alone, you know, like not to be bored So you can imagine seeing and I was looking also in the cupboard of my grandmother And I should say that at school. It didn't go very well, but I was not very good in anything Let's say on the worst it was in gymnastic and in football Every time I was supposed to be in the one part of the football section There is some they say I'll go to your disgust about what they didn't like at all me So I was rejected but one thing is that one day, you know, that is how it started I think in reality what what I am doing now, you know Is that I was at the age of nine nine years old and I saw at the TV, you know a program Which was about Come on folly berger and it was in life. They were showing the premiere of the folly berger with girl with fish net with Feathers, you know and sequins, etc. And I was fascinated and finds that beautiful that show, you know So I the day after, you know, I sketch I sketch come on like the girl with the feather the fish net I try to make some effect of sequin, you know, and come on and The teacher came, you know, I see the tree. She went behind me and she make me stand up And she's telling me stand up. She saw the sketch. You know, she didn't like and she wanted to punish me She wanted to punish me and he'll humiliate me, you know So she make me stand out on the like a little stage as we have in the French classroom, you know And she put on my back, you know with the pins, you know My sketch, you know to humiliate me and to make me to go to all the different classroom Like that I could be a shame, but what happened? This was the contrary Yes, it is But it's because I will tell you it's because I was like, you know, like kind of I Didn't know what to expect but like I was rejected by all the other boy of the other of the classroom You know always because I was not good at football there for the first time They smile on love and after they asked me to make sketch for them So it was my passport to be loved in some way to be accepted So it's in that time I think I realized but it's years after that I realized it that maybe through my drawing is through my sketch I could go under the doors should open on the frontier should open But I think also your grandmother your maternal grandmother played a very important role in your Childhood like you've seen that famous movie from Jacques becker Fall bala, which was really a starting point for you Can you tell us a bit about this movie how important it was for you, but also your grandmother? But first of all my grandmother she was quite a very special person, you know She was like a nurse and she has a big client, you know like so she was doing to make injection Etc, but also she was like a woman very open minded and she was she was treating our client like sometimes to make the injection But after doing like beauty massage on doing also like faith healing, you know and Giving advice also or maybe if you want to to keep your husband Maybe you have to change of clothes on there's that kind of thing, you know So I mean I was like seven years old, you know, and I was like listening to all that So so in some way it show me the connections that because of the clothes you are wearing, you know Maybe your life can change, you know the clothes not only the clothes But the hair also how you put your hair you cut your hair and maybe make something new on your husband He's always like in love even more than before, you know all that kind of thing You know on me I was like drawing drawing like the client of my grandmother Oh, she was I tried to make it but it was awful. Anyway the sketch but and how she could be so like I saw at the TV Marine Monroe Brigitte Bardot. I was Sketching the air like Brigitte Bardot or like that. So it was like the new look, you know the before and after So I always loved that and the client loved it, you know They were not frightened because I was like a seven years old child, you know, so what can I do bad? You know, so it was not bad So that was very interesting on on on another thing my grandmother. She was very permissive and Maybe she felt that I was like a little more fragile that I was a little more like What can I say sensible? So she gave me she tried to give me confidence in myself on the facts that whatever I will do It will be alright and that she loved me or so that they think it's very important I was very like Surrounded by that with my family that Support me and love me and that confidence in me. So even if I couldn't play with the doll I could I could do other thing and they even like a sketch and at the moment I wanted to make that profession, you know, because I saw the movie a lot So I come back to what you say about the movie fall bala. It was a movie of the 40s I was not born, but I saw it because they were showing old movie in the TV So I was like let's say there. I was a little older. I was 12 years old And I saw that movies that was a movie about like a story of a couturier, you know Which was in love by as a muse, you know in reality the story was very bad Because it starts at his side first start very badly. So I was crying all the time but After you know why it's because he has a friend of him his best friend that has a house of silk You know and he was doing fabric for couture and His friend come to him to say, you know, I have Fiancé and I will marry her. Do you want to make the wedding dress? So he say, okay, and he saw the fiancee, but first he is not in love. He want only to have sex So but that but that I didn't realize exactly what was happening. But the thing is that He had what he wanted with the girl Well, so that's okay But the problem is even if it was a girl that was supposed to go with his best friend But when he like little by little he saw it start to be in love with her But not completely but like that. He has no inspiration for his collection, but since the moment he met her He Get inspiration he drew he draws he draws and after that will be the collection like that because he has his muse You know on the he makes a collection But the thing is that he said to the girls that in reality, you know, it was only like that like And she has to marry with the friend. So she is like three years because she's no more a virgin That's the problem. So she says that she can't sell her wedding and she wants to go back to her place But the thing is that at the end drama so he come back he became crazy because he realized that he's in love with his muse And voila and after he crazy jumped through the window with the mannequin which looked like her, you know with a wedding dress It make you laugh me. I cried, you know It's true. I'm still when I see it I cry So that's it. So that movie I say I want to do that job I want to to be like him. I want to do like him not with not with suicide But I want to do the same thing and I will have my muse. It was my school in reality It was truly my school so So I loved it and I think that movie truly after when I work, you know I went first at Pierre Cardin and after I work with Jean Pateau at the house of Jean Pateau because Jean Pateau was dead But I went to the house and I find it was exactly exactly exactly like in the movie So it was quite beautiful. The personage were perfect. Why? Because the one that did the movie the director was very friend with one couturier of the time of the 40s With what was Marcel Rochard. So the description but you know even if you know of you have a friend your best friend, which is Come on Which is couturier you have to analyze on to see the thing to retranslate very well How it's working but me after when I was at Pateau I was feeling like my god, it's fall bala I am in fall bala. It's incredible. It's exactly that the personage the premier d'atelier. My premier d'atelier is there Mireille which is there. It was exactly exactly like that like the one to love her profession That is addicted to love Addicted to her work, you know, so it was exactly the same atmosphere So I loved it and it truly changed my is what I wanted to do not to be famous not to be to have money But to do that. Can you tell us it's a story that I love is the story How you discovered corsets with your grandmother and Armory, you know with how you've been impressed by this and I would add a great influence in your work later I should say that my grandmother influenced me for many way corset But also one thing that I will explain you because I find the corset what she was not there So what some morning, you know, she was going outside because she has to go to make injection But outside on the what I loved it was sometimes she was in hurry and she was late, you know So she was putting at that time like a big black Combina is on and like set underwear under dress, you know under dress in black satin very sick with lace at the In the low part, you know on lace here and she was putting after come on as a pullover and she was putting her Coach, but she forget to put the skirt on me. I was seeing that she has no skirt But like it was all black. She didn't realize that she was going out like that on me I like not to tell her that but you know, but you know one thing that in reality After I did collection like that when you can see the underwear you can do don't wear skirt of a ritual You wear it as a real dress So I'm sure she influenced me because of that, you know that was in my memory and one of those day Well, she was out with her underwear only I I Look I was profiting like to do something. You know, so I was opening the the cupboard I was seeing like paradise feather, which were very beautiful, you know like in art, you know things all you know And I was and I find one very strange object Which was come on which was a corset I learned after it was strange because it was Salman in satin Beautiful very shining, you know with strange shape and like less up So I say what is that? I was very Intriguing for me, you know, and I was thinking What is that for so when she came back? I tell her like that I look inside the armory which you didn't say anything She doesn't was hungry and I said but I saw that on what is this so she explained me It's something orthopedic, you know like that you can have and also like that You can have the waist very very tight on very thin, you know for the silhouette of the beginning of last century You know and she said even that when she was younger She was taking on drinking some vinegar because like that she has a contraction of the stomach You know like that and at that time you have to lace it up very strongly So you are like that and your your waist is very thin So it was fantasmagory, you know when I saw that, you know And so I loved it and years after years after many years after I It was the moment, you know where some girls in the palace in the during just after the moment where there was a punk in Paris also like in seventies, you know, the some girls around me particularly Where like the queen of the punk Edwige and Frederick Lorca, you know, they were wearing like some bras that they find you know some bras that they find in the flea market You know, and they were putting under the jacket, you know, and I was finding that very good You know, it was that generation of girl who after the woman sleep of their mother, you know that Take the bra on burn it, you know like in a rebellion and like revolution like like against the submission of the woman, you know And leave it at the purpose of freedom, you know So after that there was a post one that wanted to show Femininity but like choosing to to be feminine. This was not because they were obliged to be feminine It was because they wanted it. So me I said There's something about maybe black or maybe corsetry. Maybe I didn't know exactly what so in my first collection, you know already I put like the tutu Motorcycle jacket and on on like a little bustier, but it was the beginning the bustier and after I came to New York Beginning 80s truly in 80 81 and I came to see one Broadway show, which was It was nine. I think you know from a film movie, but it was done in in in a musical, you know And I remember as it was Lillian Monte Vecchi, which is an old She she had an affair with Marlon Brando. She was very pretty. It's a French one And she was so so proud like to have an affair with Marlon Brando on the you know, and she was I can understand And she come on and she was you know, what was nice? It was like the set at one moment. It was only show girl that were in the large, you know like who is Les ampoules and making the makeup on all the girl on stage were in Satin Salmon Satin corset On me it was the grandmother corset that was coming back or as my god my god I will make my collection like that, you know So I did a part of my collection like that But I didn't I didn't want to make exactly the same corset as the one of my grandmother So I make exactly I mean I make the same technique same way same color, but I did it in dress long dress short dress jumpsuit skirt Trouser, but with always with all the corsetry type on Structure, you know, so it was like that that I first time I did like my corset dress that after I go on even even now You know to make like a kind of new version So in fact you think that by bringing back corsetry and contemporary fashion It's something that for you in a way empowers women to Show their feminity and use their feminity as a tool of power just like Madonna did or When Madonna discovered your corsets, you know for it was a tool to become more powerful What do you think that corsetry is I think that the corset me what especially about Madonna But it was exactly in the same spirit I was in it was a mix of Feminity and masculinity the fact that we have like for example like a main suit, but fitted so more feminine and Under it a corset was a mix of masculinity feminity, you know which shows that the woman is seductive and want to use Come on the seduction feminine seduction But also she is strong and it's her that decide to do it so it was not at all a submissive orthopedic object, you know it has not even like Let's say masochistic object, you know it not to torture object and not to rectification exactly of the body it was only like Emphasizing the body and subliming the body, let's say so I think it's a question of also to Accept assume the feminity but to use it as a power, you know So it was more for the eaglity It's why after to have put the the corset for me was not going back forward in history And I did it as a corset under something you can you can also show out, you know It's not something from inside it's something can be also something from outside So it's me like I assume my feminity, but I am a woman who assumes so I decide and After I try to do the same thing with a man Not to put I put some corset even even tunnel which is there. He had some corset even he has even that you know But anyway, so I Did like for the male object I did something from a to show also the masculinity and the feminity I think is one part like a very very important for me of because we have Every one of us as men have a part of feminity and women a part of masculinity and Everybody appreciates the other part with that with a two-part One thing that you may notice also in the exhibition is You know, you have pieces like you have the very first dress that John Paul created in 1970 for one of his muse It is and so you know in the virgins the one with the bare breasts But you see clothes from the 1970s 80s 90s and one thing that I find fascinating in his work Is that since mr. Gutier initiates the trends instead of following them? Most of the pieces are timeless unless you read the labels you cannot say oh, this is very 70s very 80s so too sorry to come back to the 1970s you worked with Pierre Cardin with Jean Petoux And then you went to the Philippines to work for Pierre Cardin and at one point you decided With Francis to start your own company and do your first fashion show in 1976. Can you tell us? When you were in your early 20s, how did you decide that and how was the first fashion show? I should say that like I told you at the moment I so fall back I knew that I wanted to do that profession But for me to be honest it was not like a sinking or I will have come on a big house and I will Give order to people. No, it was doing dress doing clothes and Designing sketching finding nice fabric and do it that Job, you know, it was not like also like to be famous to be rich or whatever It was truly like to do that, you know like a little I should say like like the boy I was a little boy. I was dreaming of a game, you know on to play his game And I'm lucky I please is that game all my life, you know So I I wish for everyone to have that, you know, like your dream and like that to go on to do it during all your life Seriously, but to do it, you know, because it's quite beautiful that so I went to different experience But for me, you know, so I have a boyfriend Francis Manouche that was with me and I should say that maybe it's him that make me Realize and say that We should jump together because I was feeling stronger and not alone, you know Because alone may be what I should have done I should have worked for like artistic director because at that time it was That you know to the house of couture, but they were all the All the place in the couture maison couture were taken, you know, so I have no choice so What to do to play for ready to work But I was more inclined to something more creative than at that time There was only Kenzo that was super creative and Sonia Riquelle that was super creative But they were the creator where at the head of the house So the only way it was like to do, you know, like when for example when some do a singer or musician, you know They there is no place like in a record company. They do themselves their own concert And after it's one record company sees them now internet, you know They can maybe be After to have a career and to make their own record. So Without money we decide like to to make together You give me the nerves the energy and the vitamin like to to do it, you know So we jump with no money and what is good is that you start with no money Is that the fact that when you succeed to do it with no money after you feel like Not vulnerable, you know what I mean, it means like you know that what can happen, you know You can find solution and you you have to have idea and you have to be creative when you have not You know sometime when you have too much comfort. I don't say that you have like to be like Like that and you know like a no money at all But I mean like the fact to be too much comfortable is not good for creation. What if you want to create? Sometimes that you have to find solution instead to To try to do on to be like the the ground house on the that we were doing big show in big place Etc. Why to try to do it if you have or not the money to do it You have to find another solution or the presentation or the model or the thing So it's that that make me see that after all there is not only that way to do but to find new way Because in the exhibition in the urban juggle section You see the maybe you've seen that there is a dress that is created in fact with placemats that mr. Gootsie brought back from the Philippines He was already very inventive to you know to Recycle things you've seen probably the garbage bag back dress With the tin can bracelets and all that can you tell us a bit about how you created your first-fashioned show and how it went in 1976 a catastrophe Real catastrophe but anyway I didn't know anything the first thing that I did big mistake is that I I choose if I choose we choose The moment of the show it was just exactly the same hour of the best designer in Paris of the time the ones that all the journalists wanted to see so I mean I had all the ones that were refused in in that show Well, which means it was better in reality because what I show was Let's say a part like maybe one of the I would fit on the two Who'd fit that are here are the best one, but the rest was whatever, you know, I didn't have money so I tried to find like even like Lining to make dress with lining fabric and things like that, you know But it was done very in a short time and it was not very much thought about so When the show start I didn't even know first the model I was lucky because I have one friend of mine That was a model and she was she was very beautiful I met her at Pateau and I told her to go to Saint Laurent because I was sure that if Saint Laurent should love her She did Saint Laurent she become one big model of Saint Laurent and so like she was in Saint Laurent on me I was starting my show she said to all the girls of Saint Laurent to come to my show to make my show So they make it for free and I pays them with the clothes Unlucky they were because the clothes were not But anyway, thank you to them. I must thank them because truly it's that you know, but I jumped You know, it was my first collection. So after that when you are in the water, you have to swim So I did another one. It was normal to do another one even with no money I did like that like for without at all money, you know And after one moment I was arriving to a point or my god Now I have to reimburse because I have not even so I was going To my parents I was some time to eat on my boyfriend too. He was going to his parents on the And voila, you know, and we did and on on luckily there is one journalist is that Melchertry Anton a woman that was a great that was ex-model of scaparelli and etc And she was a magazine and she's heard that there is one companion one boutique in Paris burst up that was looking for a designer to make That their collection so she present me on the woman Dominique Schouler Which was the director of the boutique. She saw my sketches. She saw some photo of the collection I did before for collection and she even can sell the person. She already booked for do the collection and And I start to make my collection through through them because she believed in me and voilà So I was lucky I must say thank you to Dominique so I could go on and make a collection that became commercial and Could be sold because he was the one before not sold at all You know, I will tell you something is why did I do the defile because like I didn't go to a school You know to fashion school for me I see what I saw in the movie. It was the defile so the clothes in the boutique. Okay, but for me what I love It was like the the model walking on somebody inside that is inspiring It was all that so I didn't know that there was also way to do it for me It was the work was that you know so to make a fashion show So it's why that I present through fashion shows that I didn't sell the clothes And I went on like that on after that start to sell the clothes on people start to wear them Thank you Also, Mr. Goethe is known for the very generous social message in his work, you know, there is no taboos There is no boundaries. Everybody is welcome in his world and everybody can relate to it and you see it in the exhibition that even in the muses section or in every Garries of the exhibition that whatever your age your skin color your body shape your gender your religion everybody is welcome Can you tell us how? What is your idea? Ideal of beauty. How do you approach? You know, you use so many different models to the years, you know from Tanel to Farida to bed Ditto You've had so many different muses. Can you tell us what how do you define beauty? To be honest, I I think it started of course when I was a child, you know Always I was attracted by people that were different So I remember that I was at school and at that time there was one girl I was in a school where it was like boys and girls after what I was like, let's say 14 14 years old and That girl was very white skin, you know and with very very afro air But red truly red, but not died a real red carrot, you know And I was fascinated by her, you know and because she was completely different from the other one So always I have been attracted and find beautiful people that were different So later on, you know when I started to work I after one of my first friend on the model, you know was black girls that was from Guadeloupe, you know from caribbean french caribbean and she was very beautiful ITs and she with her skin and the color of her skin was going very very beautifully with all the color I could mix, you know and I like her because she was different or were of moving was different after there was Anna one That girl that was like incredible. That was first time I saw her She was with the air like the Rhys Brooks like with a makeup like red around the eyes red And the lips black and she was with like a forties dress, you know that was in 72 71 72 And a forties dress, but with no shoes and she was with a big like straw bag, you know like that walking like that I see I was I say my god. She's fabulous and I love her, you know And and she was and she was and after even the way she was not model But she her boyfriend wanted her to be model. So She said, okay, maybe why not it will make give me some money and I remember under She I remember that when she was moving, you know, she was her way her own way to move I mean like how the position she was putting her arm under it was beautiful So first I said wow, she's great and she's completely different after that There was Farida Farida Kelfa, which was truly like she was she was from a one part of France, you know, Lyon but in a part that is Where look immigrant like Arabic, Algerian, you know, and she was super beautiful She was she left for Paris at the age of 16 and I met her there, you know And I was like on the shock, you know, she was with her black black black air, you know Like with a like a banana, you know, like a rockabilly air do like that big Come on like a golden Crayol, you know, like the ring big rings there, you know The nose that was incredible like truly like like that, you know, like a flesh like Incredible on the attitude the lips, you know, well like a little like me present, you know, like you know like She was this guest or whatever, you know, she was super impressing on dressing very very well, you know And she was like that on me. I was thinking she's not a model, but she's like so impressive So if I like her and I am impressed people that will see her will be impressed and she will be beautiful in my clothes So I asked her to do it, but I was frightened She was the time like what do you want like that, you know, like she was a little arrogant, you know, but I loved it And you know, and when she did the show, I remember first time, you know She was like having a shrink arm and she was Mashing the shrink arm on the like walking like a truly like straight like that I loved it. It was a contrary of the real model that were Some of them I love them, you know, but it was a moment, you know of the Swedish Girl which were all blonde and beautiful, but all walking in the same way, you know, like very professional Which I didn't like so much to be honest I prefer the attitude of some that were in Some of a very few that have the attitude of Farida was unique, you know But a way of moving I prefer that or Anna, for example We had just her own way and like make news a way of walking the model, you know So all those girls For me, it was fabulous. It was super inspiring. It was my muse like in the movie, you know And after I have even a male muse which was Tanel, which is just there and it's him And he he was like very like I remember he was working like He was like assistant of a editor Elizabeth John which is doing the magazine numero now, you know a very good magazine I don't know if you know it but buy and go and buy it because it's a beautiful Beautiful is called number numero is very very good. And at that time it was Jill She was doing and she had an assistant and I don't know and then I came in sir I was like to to take some clothes like for to make photo. I said, who is he? Tell me Stanel's assistant about it And I saw him and I asked him also like he was literally like very different and not at all like the stereotype of the model archetype of model completely the opposite but very beautiful and the very Attitude and very modern for me. It was perfect So Tanel became my muse and he has his own way of walking and very going very well with a male object I wanted to show so the male object was Very well represented And he's still walking with me because I am quite Because he's fabulous only So So it's true that it's like in the movie all those person all those model Which were not model at the beginning in Come on inspiring me and give me like energy on it's true that sometimes I cannot work on Someone that are very good model But I don't know why I cannot work on them, you know on some because of the attitude only it's not only like Kind of to be beautiful perfectly classically beautiful. It's also to have attitude a way of putting I don't know that hand in the pocket or not or Walking or being there like looking in the mirror how you look like, you know, like a kind of energy on the emu Come on, you don't sound emulsion on emulsion say it's cooking. So just I don't even know the name in French anyway Excitation with Working with them but also You know in terms of body shapes you've you've used very different models like bed dito or even Velvet them or but I think that there is no only one kind of beauty. That is my first thing that I It's the base of everything, you know, I think you can find beauty in Every everyone on in anything also it depends of the angle you are looking for, you know, it's sure that come on Attracted by different people but I saw that also I remember when I was going to London, you know in the 70s There is like some very round girl very like Curvy let's say that we are dressing and like me having makeup in a very common Sometime like provocative way and having also like air curds that was like quite incredible, you know on Worrying instead to hide them. They have like some dress that were super sexy and they were fabulous You know, they were not a shame of what they were I think that is very important also the attitude how you feel in yourself if you like yourself People will love you. I suppose so I love them I say that because maybe I didn't like him myself very much physically So it's why maybe I see that in the other and I love them very much, but I must say that After that I saw there is also the ages There is some people that are very beautiful getting older and I think that is not good Me I have the example of my grandmother which was very beautiful very clever because a beauty were coming was coming also from Inside, you know, and I think it's very important like to to Still see not the age but the beauties that come out from your face from your attitude from what you say How you walk how you are, you know, so it's all that that I tried to look on not to think about criteria of What now it's in fashion what is not and more like what humanly it it is, you know But that you have not only to look to internet you have to look also on real people Don't miss that because in real in real you see a little differently Also in the exhibition you may have noticed that we have fantastic wigs and pieces Created by a great hair sculptor who's just here in the first row. Can you You always say that for you the silhouette is the most important thing. It's not about the accessory Can you explain us why you know hair is very important for you in your shows? You always have these fantastic Sculptures of hair and all the silhouette is important for you I should say that in some things that I shouldn't say that I envy Come on the address but in something I must have something frustrated of her address in myself You know because I think the air are very important very very important because it can change you It can make you a lifting sometimes Very quick lifting, you know only by the chair Look at me when I have long hair completely different that when it's it's shave on like that You know so it can give you an help, you know like in a directly physically look at come on Come on and come on the relation that you have with your hairdresser It's a reflection. I don't speak about sexual relation. I speak about like a aesthetic relation unlike the manipulation Addressors they touch you they make you sometimes massage they change the color of your hair is something they do directly on your on your physique, you know The couture we don't pins like I did to my you don't put pins on the body like I did on my teddy bear, you know When you do outfit there is an outfit that you put over you, but we don't touch directly directly the body, you know so we have not There's a something of a big intimacy, so it prove at which point it is something that Belongs to you, you know, so I Think that the area cut on the air style are very important and I love it I must say that by air by changing color of air bar by me It's really I have a reverse when I change the color of my hair when I was a platinum It's a new career that started, you know, but I mean it's look like a job But not I truly appreciate very much The hairdresser the creativity that there is and I was speaking with Odile about like what how Incredible it is like to see the festival of the hairdresser on where they show Demonstration of how they do the air on what they can do with the air, you know, it's fabulous, you know So it's very important because it's part of the person, you know on the something strange is as I Don't as a makeup. It's very important But I like it that it doesn't hide the personality, you know I like that the makeup so I am not so much into like a strong makeup And I prefer like that looks truly in natural but The air it can be because you can see but which one even if some people because there is some that are very lucky They can change all all all the air style, you know, but And they are always beautiful, but there's some people that are better with that kind of haircut and All that other one, you know, so I think you can change your life with a new haircut, you know under a new hairstyle It's true You can get married you can You know, it's like so I love the haircut and you have a lot of admiration about the work of Odile I truly we are doing like truly like a fighting of nothing. I think no, what do you think Odile? And really she does it perfectly with her art and and with her talent like she is truly like great and Not afraid to experiment a lot of things. So we'll take questions from the public Mrs You have a good voice we can You have tattoo Voila a nice one. Okay. Yes But what I what I can say if I understood well the question is Collaborate yes collaboration You know, no, it's my English which is also some time a little So no, I think that first of all what I have to say is that Odile was having her career before me And I don't mean that she's older than me not at all But I mean like she was already Odile. I'm doing things alone, you know, I think that In terms of career if it is what you are speaking about About I think is you have not to think about First collaboration or whatever you have to think first about like what you want to do yourself and what you you think you Your creation and to do your creation and to to do Everything about that and after maybe arrive a collaboration Is that a fabulous and you will find Some person which one Will make you do for his show Something and you will go very well with him, but I think it's better like First you think about yourself what you want to do yourself your creativity yourself and After you see because there is collaboration that happens that are marvelous But it's like, you know, like sometimes you have a new friend you have like that you can also be alone You know what I mean. So there is no it's a fact, but she is like by herself. She's already come on She's already Odile. I mean like it's not because that we are That she's doing she does a lot of other thing, you know on all the Designers that are talented and she does also things for magazine for herself, you know So that's why you think about yourself don't think at least that's only Collaboration can be Can be good it can happen. It's the case and I am lucky, but also it can be without collaboration And be yourself. Thank you. So short questions, please In the back redhead yes Sorry, can you please use the microphone so the rest of the audience can hear I'll pass it down Bonsoir Two really quick questions is does music influence your designs and who are your favorite designers past and present? Do I start music before no A lot of music of course influence me a lot I should say that Now maybe not but before I was always like no what I am No Sorry, it's me because sometimes I am saying what I am thinking exactly so it doesn't mean anything because I know what I mean So I explain Music is very important. That is my spontaneity. So sometimes it looks strange what I am saying Of course music influence me for example when I am alone sketching. I need music I need to have music around me because it gives me like energy on sketch can come more easily because it's like inhibition we know with the music Rockstar influence me a lot. I mean like David Bowie Boy George after a lot influence me rock and roll scene influence me of course So all that influence me To say what even in my creation I did under the work I did of course with Madonna it was a self Come on reciprocity in in creation So it was fabulous on one of my most beautiful collaboration I ever had so all that on them the rock star by himself even like the men like Mick Jagger, you know on some rock stars that make put makeup You know men that were a little like androgynous and like that influence me in my creation So that is the answer. So yes music is very important for me and Always influence me is why when I started my first collection Since the beginning I put music, you know And I was lucky also because when I worked at Cardin already he was putting music on making a show But always I wanted to make like a show, you know, like is why even last time I did like Tury like a like a dancing with the star casting, you know Where's the girl we could dance on coca-cola chat dance marvelously Kelly close also. So it was quite trap. So I always love music Apart that what is the designer that I love? I love from the past. I love Saint Laurent a lot, you know And from now also I love Eddie Sleiman very much I think it's very good what he did about Saint Laurent in my opinion But it's only me that I see about not only me, but I it's my own advice advice Think that truly he did like renew very well like the house of Saint Laurent He is truly like what could have if Saint Laurent done today. I Love Rick our Kubo a lot. I think he's quite marvelous and a Artie and incredible. I love Martha Margiela which worked for with me for years and I Love him as a person and as what he did His work is absolutely fabulous on this career is absolutely exceptional by the fact that like to arrive to be to make a colleague to make a Close and to make a label famous like he does, you know without without Be presented be present as a person, you know, it's unique and like absolutely Yes, unique. So I love his unique way and his Humanity and personality on this work most of all what else but there is some other ones that are good But for the moment, I don't see Come on Also, of course I respect very much his work. He has like a truly like Like personality and aesthetic which is very precise and he has style to be honest the ones that I appreciate is the ones that In some way don't do fashion when I say don't do fashion I mean like the ones that don't Follow the trend and make their own Inspiration is the one is what I think that is the way the most Not easy because it's like it's dangerous way, but it's the most exciting way, you know So Mugler goes until his his fantasy And he is absolutely incredible. I love John Galliano. I must say I think you like truly Yeah, I say that because you know in some way I think like he didn't do at all what did Mugler but he is like also going into his Fantasy and he's extraordinary Telloring and he has a lot of talent on the romance which is fabulous. I loved also Alexander McQueen Does anybody up there has a question because I was wondering if you ever get blocked when you're designing and when you do What where do you look for inspiration when you can't come up with something immediately? I Didn't get can you repeat please? If you ever if you ever find yourself uninspired or blocked Where do you look to get inspiration or to get your your mind going in your imagination going? Or it can be anything the inspiration, you know, it can be like sometimes some like very Come on Like reject of things that I have done can be Can be come on a movie can be Come on a book can be somebody in the street which dress in a way, which is not fashion But which is at the contrary Generally, I am not so much come on Inspired by people that are In fashion because what is in fashion is already there so I am more attract by something different You know something that is not in In fashion maybe to make it again or to make it in a new way is that you know, but it can be anything it can be colors it can be The bricks of Manhattan the colors that there is on the wall that are beautiful Like sometimes with the black black on the gray on the color of the rest of the brick It can be combination of color. It can be light It can be a show like I say like Broadway show with all the corsets, you know It can be it can be it has been also in in in Manhattan one time I was I was going out of Walking and I saw coming out of the big library, you know, like a lot of rabbin, you know Lot of rabbin dress in in their costume, you know And I said my god the force the strongness and the beauty of their costume on all them together Like that, you know for me it was something like incredible and very beautiful So I say I want to make a collection like that, you know, like for the beauty of their culture, you know, which is different So I was remembering one movie from the 70s which was called pain chocolate Which was the Italian movie very beautiful Which was the story of a man which was the Italian Yes, which was Italian and he was going to emigrate in Switzerland and it was not integrated, you know So what he did many things but also he died is air in blonde Like to make people think that he was from Switzerland, you know, like that he should feel more integrated and That act, you know, so he was blonde and one People thought he was That he was a sweet, you know, and one time he was in a bar and it was like a game football game Football game always, you know that where it was Italy against Switzerland and one moment Of course, it is Italy that win and he say way like that, you know, it was so happy, you know So happy that Italy win on everybody turn at him He is Italian, you know, so I think like it was like very emotional because truly it's beautiful, you know He tried to change but whatever you do you are what you are, you know And it's beautiful what you are so don't be ashamed to be what you are and be what you want to you What you want to be or what you are Over here. Yes, I actually have a question here on the far to your right Once while are you doing I have a question when you started out in around 1976 doing your collection you a designer only had to do fall and spring summer collection resort now in the year 2013 if you start out as a designer right now, you would have to not only do fall Spring summer you also have pre-fall you have resort you have to do special Exclusives and it's a big drain on creativity and I think a lot of designers Suffer from maintaining that creativity. What would be your advice if you were starting out right now? how would you protect and Maintain your creativity and the such a faster pace design I Should say that is we are in a moment, of course like everybody knows like of a cries like a world cries, you know And I think that the cries maybe it's also because the fact has there is many many many many many Houses many many many label many many many many many many clothes On there is less people to work more more close than people to worry it, you know So I think that's that's a problem. So what I mean by that is that I don't know If it is a good solution to present collection so big Fashion doesn't change every season is not it's Absolutely wrong that doesn't exist, you know, you cannot change the silhouette of people like all the Every six months So I think that me I think it's better to concentrate and to be yourself for me There is no issues and Come on to show what are doing the other. I think copying is not a good solution The best thing is to propose some things that is from you In which you have confidence in which you believe and if you believe it you make other people believe it Thank you We will take one last question misses here just in front, please you know, but I think it's it's terrible because you know, it's like It's terrible. Yes, because I think The difference are so beautiful and they so beautiful beauty in Africa black beauty yellow beauty these different beauties that Have to be there and we have to use as a model The thing is like it was already I Think before the seven before the sixties, you know, there was no one girl after some came and became like No, and you know and make some cover, but I must say that only few magazines show black girls And it's terrible because I you know, it's like some time fashion can be Is that you know like some Like it was like some years ago the fashion of all the Russian girl I have nothing against the Russian girl. There are some super beautiful. It's true But not all are on there is also to see me. I am very Come on, I do all my casting I don't want to speak about me me me what I do because it's true that I love the Different and I always take different type very come on very specific Very specific very different one from another one. So of course, I love black girls on boys And I love also the contrary of them the one platinum one There's a red air ones Yellow skin one, you know, it's at the moment. They are special and beautiful. I want to use them But a lace I I cannot take like one on what how many there is like maybe one thousand Beautiful black girls that there is because I have not I don't need so much model You know the problem is that I think but there is I think there is some young designers that take some girl, but maybe The magazine has not to be frightened. I'm frightened. I don't know if it is even frightened I don't know exactly why they they don't support It was when it was a Russian it was oh, okay Another another new because you know, it's one girls is going very well For example, let's say ketmos after they were looking at the new ketmos not seeing that there is maybe some of the beauties and ketmos Ketmos is ketmos on bad on bastard. Why to try to have a new one? You know exactly the same So it's a little all that you know Naomi is fantastic and beautiful and he man of course was beautiful But there is a lot now there is one small which is like absolutely Fantastic on great, but she's not totally black and she is mixed, but I think What are with come on black girls is true that we can like so close out as a color are fantastically beautiful You can mix all the colors that you you can The body generally are absolutely fantastic and they have a way and elegance of moving which is truly graceful and really Inspiring what can I say? It's true that it's good that to protest against that because it's truly a shame It's the same thing for with the boys, you know With the black boys on the I am for you know, you should make the universal color of Benetton, you know again, but it was like truly it's like something to do You know like what are what I can I say on all my love and admiration for from all the girls and beautiful like you Thank you very much. No button. Thank you very much