Jean Paul Gaultier's Fall 1991 ready-to-wear collection, presented at the historic Cirque d'Hiver in Paris on March 15, 1991, offered a vibrant and theatrical spectacle. This comprehensive show, featuring over 125 distinct ensembles, underscored Gaultier's unparalleled ability to blend calculated chaos with design ingenuity. The presentation space itself was transformed into a dazzling arena, complete with opulent blue velvet drapes and a glossy blue circus ring adorned with yellow stars, evoking a sense of playful grandeur. The grand finale further heightened the dramatic atmosphere with can-can dancers descending from above, their frothy skirts swirling and legs kicking high, encapsulating Gaultier's ethos that more is indeed more.
The clothing itself mirrored the deliberate extravagance of the show. Gaultier’s central theme for the collection involved reimagining 1890s fashion elements within a 1990s context. This influence was immediately apparent from the opening look, which strikingly evoked the iconic French fin de siècle cabaret artists, Yvette Guilbert or Jane Avril, both muses to Henri de Toulouse-Lautrec. Gaultier, a master of self-transformation through clothing, consistently designed pieces that offered multiple styling possibilities. A key aspect of this collection was his innovative use of rectangular and square pattern cutting, allowing fabrics to drape fluidly when left open, forming elegant handkerchief hems. For tailored jackets, the edges were often folded and fastened at the back's center, creating a unique, voluminous silhouette.
Accessories played a crucial role in enhancing the collection's playful spirit, with vividly colored tights accompanying numerous outfits. Trousers featured distinctive side stripes along both inner and outer seams, creating an optical illusion of slenderness. The inclusion of candy-cane stripes and trim waistcoats suggested a whimsical nod to the attire of weightlifters, barkers, and ringmasters from vintage circuses. The winter theme was subtly reinforced through elements like faux-fur trim on wrists, hemlines, and necklines, alongside references to ice skaters and their costumes.
Furthering the diverse inspirations, the collection also incorporated activewear motifs, evident in hooded anoraks and sleek leggings. Gaultier's deep admiration for British culture, known as Anglomania, was expressed through specific pieces. Garments adorned with handprints alluded to a blend of ancient cave art from Lascaux and the punk aesthetic popularized by Vivienne Westwood's 'Nostalgia of Mud' collection. A model encased in a head-to-toe bodysuit that obscured her face appeared to be a direct tribute to the performance artist Leigh Bowery, showcasing Gaultier's broad spectrum of influences.
Reports from the time noted that the show experienced a one-hour delay due to an overwhelming number of uninvited guests attempting to enter. Those who managed to bypass the security were reportedly greeted by dancers distributing sweets and bouquets of violets, as a cabaret singer serenaded them with classic French melodies. This lively and immersive experience perfectly encapsulated Jean Paul Gaultier's enduring belief that life, much like his fashion, is inherently a cabaret.