Jean Paul Gaultier, the great French couturier, opened tonight’s Vogue World: Paris festivities backstage at the Ritz, making the final adjustments to the haute couture gown he had designed for singer-songwriter Aya Nakamura. After a final lacing of her corset, the singer stepped onto the Place Vendôme runway in Fred jewellery, setting the tone for a celebration of the union of fashion and sport, as well as the legacy and excellence of French haute couture.
Jean Paul Gaultier says he loves the effervescent backstage atmosphere in the moments before a show. Even as he was preparing his very special first model, Aya Nakamura, to emerge from the corridors of the Ritz and onto the runway for this unique one-night event, he recalled fond memories of his first shows. “I’m backstage just doing my job,” he tells Vogue. “Adjusting a corset, unfolding the train…” and he then adds, with a burst of laughter, “Oh, but I remember when I first started out, it was a mess! There was one show in a café-theatre where the music had already started and the models weren’t even dressed.”
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Here, Gaultier tells us about creating Nakamura’s look for tonight’s show-stopping moment.
Vogue: Is this the first time you’ve met Aya Nakamura?
Jean Paul Gaultier: I knew of her, of course, her songs, her hits, but I didn’t know her personally. I’m very happy we’ve met. She’s extraordinary! Her body language, her beauty…
Vogue: Aya and Gaultier feel like a match made in heaven – she’s someone who belongs in your shows.
Gaultier: I really like her personality. I noticed it, just like everyone else – she’s got real energy. The way she looks, the way she moves. She’s a lot of fun, free and natural, enjoying it all. She knows exactly what she wants! She doesn’t let herself be objectified or pushed around. During the fittings, I showed her a video of Madonna’s children dancing to her music. She hadn’t seen it before. We took a photo together, which I sent to Madonna. Madonna loved it. They both have this great strength of character.
Vogue: I understand Aya’s outfit combines two earlier ones from your haute couture collections.
Gaultier: Yes, at my last show at the Théâtre du Châtelet in 2020, the final tableau featured outfits in different skin colours. I revisited that idea with this corset, which is taken from the Amy Winehouse-inspired spring/summer 2012 collection. First I had to find one of the corsets from then, of course! It shows off her beautiful hips and gorgeous body. The look is like a patchwork of collections. It reminds me of the time when I used to go to the flea market and transform clothes or Samaritaine to buy hosiery, which inspired me in my career. I love the idea of taking a dress and giving it a new life.
Vogue: How did you come to choose this outfit?
Gaultier: I thought about creating a trench coat – I imagined it as long in taffeta – but this dress reveals more of her body so it’s very good, and it was easier to make than a trench coat! With the first design, there was less raffia. I added some to the neckline and to the hip, and it worked. To emphasise her curves a little more, there’s this very long slit on the leg. We only needed one fitting – it fit perfectly straight away. I am very flattered that I was asked to dress her. It is an honour to participate in this event by creating a dress for Aya Nakamura. She represents a very beautiful vision of France.
