I let each designer do what they want, Gaultier explains.
Simone and I met, had lunch and then she was free.
Every designer brings a fresh energy with them.
Like opening the windows?
Rocha offers, picking up where Gaultier leaves off.
The aforementioned archive is an invaluable resource for guest designers.
Detail of a mesh fabric, from look 14 of the Jean Paul Gaultier Haute Couture by Simone Rocha collection.
In fashion, we are always thinking about whats next, it is always morphing and evolving.
I am of the flea market generation, I am used to seeing old garments hanging on coat hangers.
I respect, but I am not overly protective of clothes.
Vintage Irish lace before being coated with silver, from look 7 of the Jean Paul Gaultier Haute Couture by Simone Rocha collection.
I always thought that museums and archives are for when you are dead, he laughs.
On the contrary, Rocha asserts: The Gaultier archive feels like a living, breathing thing.
Rocha had intentions rather than inspirations for the stories she wanted to tell through her collection.
I wanted to play on this idea of restriction and release.
This dynamism reminds Gaultier of why he established his brand in 1982.
While some people were surprised by the collaboration with Gaultier, Rocha was not.
A porcelain flower blooming across a calico corset, from look 27 of the Jean Paul Gaultier Haute Couture by Simone Rocha collection.
Look, its a monster, laughs Gaultier when Rocha pulls up a photo on her phone.
A crystal detail on white tulle, part of look 17 of the Jean Paul Gaultier Haute Couture by Simone Rocha collection.
Tulle straps swathed in crystals, a detail from look 26 of the Jean Paul Gaultier Haute Couture by Simone Rocha collection.
