“You can always get married again — and again!” Jean Paul Gaultier said to Carla Bruni-Sarkozy, after the former First Lady asked why the soundtrack at the designer’s riot of a couture show repeatedly played Billy Idol’s ‘White Wedding’.
If Carla and other celebrity guests — Dita Von Teese, Conchita Wurst and the ever-loyal Catherine Deneuve — had not got the bridal message by then, they never would.
Hadn’t they seen the opening look of a bride decked out in hair rollers, and the guest chairs adorned with white posies that were then flung on the runway?
There to catch them were mostly ‘retired’ models, brought back to the runway to storms of applause.
They included Naomi Campbell, who did the finale dressed as a flower bouquet.
But behind the high jinks were magnificent examples of Gaultier the master cutter. The way his lines follow the body was enhanced by fashion wizardry that had sleek tailoring morph into fluid forms.
“Bi-polar,” Jean Paul told me later when we met up at an event that showed off his new jewellery collection in collaboration with Swarovski.
Gaultier has always been the designer who best understood the male/female issues that changed society and fashion in the Eighties.
His mission was brought to perfection thirty years on as he created forceful, elegant and even adorable clothes for 2015, some with workwear denim embedded in high fashion.
The joyous show was a triumph for Gaultier and justified the decision last year by parent company Puig to shutter the ready-to-wear.
Jean Paul told me that things were definitely different: that the work he put into couture and his visit to Austria for the Swarovski project would not have been possible on his previous crazy schedule.
For Gaultier, the pull back means that his fashion heart now belongs to couture.