PARIS, Jan 25, 2007/ FW/ --- ‘Dear Brothers and Sisters in Fashion, there is not only one Madonna! Better, the Madonna remains the same for eternity, but she can be represented with several faces… and matching outfits. Besides, don’t ye all faithful praise, implore or celebrate her in different ways according to your needs, moods and moments?’ These are the words that His Eminence of Designers, Jean-Paul Gaultier, the Cardinal of Paris Haute Couture, could have spoken, had he needed to comment his runway show–homily for Spring 2007.

No sermon was needed though to encourage fashion crowds to more devotion, when the rows of seats where the assembly were assigned were named after world sanctuaries consecrated to the Holy Virgin Mary: La Salette, Rue du Bac etc., as volutes of incense were scenting the nave of Faubourg Saint-Martin.

Orison -the very name of the first look descending on the runway- opened up a series of eight monochrome outfits, each in one shade of ivory, myrrh, night, black or earth used on silk crepe, cut in a purification of Jean-Paul Gaultier’s tailored suits, dresses, caped jackets. The hoods in some of these first looks were integrated in the jackets, sometimes to better reveal a naked back. Except for the various halos every single model was coiffed with throughout the show, the only accessory here was a knotted armband with fringes, traditionally worn in the French Catholic Church on the first day one takes communion.

After this first moment of meditative reverence, the spirit of exuberance could blow on the following crescendo of 28 dresses derived from Catholic devotional expressions of vernacular art. A communion chalice appliqué on a pale pink muslin knee-length dress for instance, ingeniously underlined the beauty of altar aesthetics.

A sacred bleeding heart embroidered in red crystal pearls on a light blue sheath reminded popular fervours of the past. Other outfits, like this form-fitted gown of white lace and crochet were drawn from traditional church cloth designs. Although in this only example, the covered head, constricted in a jail of fabric, might be interpreted by some as a critic of religion, gagging verbal expression, nothing was mocking, irreverent or provocative to believers in the collection.

The Roman Catholic background was cleverly transformed and less literally or erotically treated by Gaultier than in the works of photographers and artists Pierre and Gilles for instance.

One of the most outstanding pieces, called “Light” and worn by Erin O’Connor, consisted of a long sheath with faux cape and displayed a wonderful rendering in print of a church stained glass piece on muslin over a black jersey structure. The Madonna often represented with Jesus as a baby in her arms was carefully interpreted here with the baby printed along the upper left part of the dress front, from the left shoulder downwards, to create a sizzling effect.

Madonna blue of course, but also the entire palette of ancient hand-painted holy cards was used by Jean-Paul Gaultier with gold crochet-work or lame applications expressing celestial transfiguration and glorification on eveningwear.

The two sexiest looks were more themed on the Spanish ambiguous but still religious aesthetics… The first consisted of a halo adorned with red roses a la Almodovar, worn with a black skirt and tailcoat corseted jacket with short sleeves that revealed the pale pink lining used here to give more delicate flesh to the ensemble.

The second called “Macarena” was a long pleated tulle dress with embroideries of angels and heart with one bare shoulder. Both were worn by the devilishly beautiful Dita von Teese. Thoughts of fornication are to be condemned, but go to confession, and you will be forgiven!

The final parade and bow brought the audience, the models and the designer back on earth to the sound of Madonna’s “Like a Virgin”. Amen.

Jean-Paul Gaultier

Jean-Paul Gaultier

Jean-Paul Gaultier

Jean-Paul Gaultier

Jean-Paul Gaultier

Jean-Paul Gaultier

Jean-Paul Gaultier

Jean-Paul Gaultier