PARIS — “Junior” is more than just a title for Duran Lantink’s inaugural collection as the creative leader of Jean Paul Gaultier. It harks back to the spirited, more affordable offshoot launched in 1988, aimed at captivating a younger audience. Lantink shares a birth year with this line, but his connection with Gaultier runs deeper, rooted in a legacy of vibrant nightlife. His parents were part of the fashionable, free-spirited crowd frequenting the RoXY, an Amsterdam club that also launched in ’88. Some of Lantink’s most formative memories are of these nightlife escapades.
“They were vibrant individuals who thrived after dark, offering a kind of inspiration not found in my school or during weekday sports activities,” Lantink reminisces. “Fridays would transform into house music, cat suits, and fabulous party ensembles. I remember a person named Johnny, whom I would greet as ‘Uncle Johnny’ only to have him playfully correct me to ‘Auntie Johnny.’ It was eye-opening to broaden the definition of identity beyond conventional labels.”
This ethos of unrestrained expression resonated in his premiere collection—a bold departure from the previous guest designers such as Chitose Abe and Simone Rocha who kept Gaultier’s legacy vibrant over the last few years. “It feels like a new heartbeat,” Lantink explains during a recent preview. To maintain authenticity, Lantink decided to sidestep the vast Gaultier archive for the time being. “The archive is fascinating, but I believe it’s best to create freely for a while,” he says.
He recognizes the challenge of sustaining this fresh perspective. “Gaultier’s influence permeates society; everyone interprets it through their lens. You have the sophisticated lady drawn to tailoring, and then there’s the energy surrounding Junior and nightlife.” This was the focus of his recent presentation.
Expecting the unexpected has become a hallmark of Gaultier’s legacy, and Lantink embodies this sentiment as a fitting contemporary steward. His collection was presented within the evocative setting of the Jean Nouvel-designed Musée du Quai Branly, navigating from the cultural richness of its indigenous art collections into a dark, underground rave-like atmosphere. “While I can’t indulge in it at the moment, I have a fondness for raves,” he admits. “My teenage years immersed in Cyber Dog and the vibrance of Japanese streetwear shaped my design ethos. I admired how diverse color combinations and patterns could allow individuals to express their identities freely.”
Lantink’s sculpted designs often aim to reshape our perception of the human form. He embraces unconventional silhouettes, much like Gaultier did in his heyday. Yet in this collection, he approached these experiments with refinement. Gaultier’s iconic cone bra, a cultural phenomenon brought to wider attention through Madonna, made its appearance in a new form, rounding and offset. It served as an emblematic introduction to his collection, followed by looks that echoed the duality of masculinity and femininity—a nod to the muscular aesthetics prevalent in Gaultier’s earlier shows.
Gaultier often explored themes of the body through belts, straps, and unconventional tailoring. However, Lantink’s take feels fresh, youthful, and grounded in a liberation from past constraints. Minimalist bodysuits, tailored breastplates, bikinis, and cycling shorts stripped looks down to essentials. Imagine a rave attendee navigating 40-degree heat, almost entirely bare except for a functional belt and sunglasses. “Who wouldn’t want to just wear a belt to a rave?” he muses.
Elements of nudity appeared throughout, culminating in a body stocking that showcased an anatomical male form. This was complemented by Lulu Tenney, who wore a modified version protected by wide shorts based on fisherman hats. “I’m not sure if I’m challenging norms,” Lantink reflects, “but I find beauty in these expressions. It may seem controversial to some, but I find it genuinely beautiful.”
Even without delving deep into Gaultier’s archive, Lantink acknowledged its imprint on him. When he first encountered the Spring/Summer 1994 collection “Tatouage,” a groundbreaking homage to tattoo culture, his first instinct was to recreate a tattoo. “That didn’t go as planned. So I thought, ‘Let’s adapt instead of replicate.’ We explored 3D printing to create a dimensional tattoo.” This striking innovation emerged on a sheer body stocking, symbolizing a unique interplay between Lantink and Gaultier’s creative spirits.
There were numerous nods to Gaultier’s legacy throughout the collection. Daisy jeans reflected Gaultier’s adoration for Deee-Lite and the playful spirit of the RoXY. Diagonal Junior tops resonated with his passion for Russian Constructivism, while stripes paid tribute to the signature mariniere. The iconic bomber jackets made their appearance, alongside a cropped trench coat showcasing a defined midriff. One dress drew inspiration from an unforgettable ad for Junior, mirroring how eagerly fashion lovers once anticipated Gaultier’s campaigns.
While the jewel of the collection lay in Lantink stepping into Gaultier’s creative fold, he noted that they meet monthly for lunch, dedicating time to conversations about films, music, and shared experiences rather than strictly fashion. “We explore various topics, occasionally touching on Pierre Cardin or Courrèges,” he shares.
“It’s crucial to blend these influences,” Lantink observes. “The late 80s and 90s created pathways for people like us. Here we are now in a climate where those opportunities feel challenged.”
