newsgathers

Imagination Unbound: Jean-Charles de Castelbajac's Enduring Legacy in Design

The Genesis of a Polymath: Early Innovations and a Prolific Career

For over five decades, Jean-Charles de Castelbajac has consistently challenged conventional categories, both on the runway and beyond. Recognized by a new generation for iconic creations like his teddy bear coat, famously worn by Drake, his work seamlessly integrates popular culture, cartoon motifs, and tributes to figures ranging from Superman to Andy Warhol. These diverse influences converged at the recent "Imagination au Pouvoir" ("Imagination at Work") exhibition in Toulouse, a preview that included a private dinner celebrating Castelbajac's inaugural major art exposition.

"Imagination at Work": A Celebration of Innovation and Artistic Vision

The centerpiece exhibition, "Imagination au Pouvoir," is hosted at Les Abattoirs, a former slaughterhouse reimagined as a leading contemporary art museum in France, and is scheduled to run for eight months. This comprehensive showcase not only highlights the designer's most renowned fashion creations but also features original works crafted by or in collaboration with a stellar array of artists, including Haring, Mapplethorpe, and Basquiat. The exhibition further reveals a profound spiritual dimension in Castelbajac's work, exemplified by the vibrant vestments designed for World Youth Day in 1985 and those created for the recommissioning of Notre-Dame Cathedral, collectively presenting a vibrant overview of his career and his remarkable foresight.

Beyond Retrospection: A Dynamic Vision for the Future

Despite the comprehensive nature of the exhibition, Castelbajac prefers not to label it a "retrospective," quipping that such terms are reserved for the past, while his focus remains firmly on future interpretations. Curated in partnership with Pascal Rodriguez, the 76-year-old designer's showcase features approximately 300 pieces. These range from his early explorations in repurposing materials and pioneering streetwear to high-performance athletic wear, alongside profound statements in art, social commentary, and political discourse.

A Distinct Artistic Identity: Defying Categorization

Les Abattoirs selected Castelbajac, whose lineage traces back a millennium in the region, for its first-ever fashion exhibition precisely because of his resistance to being pigeonholed, as noted by director Lauriane Gricourt. She observed that Castelbajac, though widely recognized for specific items, has not fully received the visibility he deserves in either the fashion or art spheres. Gricourt praised his singular and rich body of work, describing it as astonishing, with his reflections expressed through the unconventional medium of fashion. She found the integration of an art historian's perspective with a fashion designer's output particularly compelling.

From Challenging Beginnings to Fashion's Forefront

Even aficionados of fashion may not realize that Castelbajac's creative journey began in a childhood far more challenging than his aristocratic background might suggest. From a young age, he found solace in creativity, constructing imaginary castles from available materials. At seventeen, with his mother's assistance, he began crafting "wearable houses" from unconventional items like military blankets, mop rags, or medical gauze. By the mid-1970s, he had immersed himself in the vibrant New York art scene, an experience that would profoundly influence his collections for decades to come.

Reflections on a Creative Life: Farrah Fawcett and Beyond

Leading up to the exhibition's opening, Castelbajac offered insights into his life's intersection with art, fashion, and broader culture, including how Farrah Fawcett's appearance on the cover of Vogue profoundly impacted his career.

Defining the Designer: Art, Anti-Fashion, and Dualities

When asked about the exhibition's scope, which extends beyond fashion to encompass personal challenges, artistic collaborations, and social commentary over half a century, Castelbajac emphasized that the exhibition itself is a powerful artistic statement. He recounted how granting him full creative freedom enabled the breaking down of barriers, resulting in an immersive installation that serves as a panorama of his life. He highlighted his early, almost Situationist approach to clothing, using everyday materials, which immediately caught the attention of journalist Eugenia Sheppard and Bendel's in New York in 1971.

A Lifelong Dance Between Tradition and Transgression

Castelbajac acknowledged that his family background—military and aristocratic on his father’s side, with his mother running a dressmaking atelier—initially did not predispose him to a fashion career. He described being “kidnapped by fashion,” or perhaps “anti-fashion,” as his transgressive use of Arte Povera materials quickly integrated him into contemporary art circles.

Designer or Artist? The Unified Vision of a "High-Level Hacker"

He views himself as both a designer and an artist, noting that his career has been shaped by navigating dualities between his traditional family roots and the punk aesthetic, and between art and fashion. This synthesis, he believes, defines his current "state of grace." He attributes his American success to his design sensibilities, particularly his work for Charlie's Angels with Farrah Fawcett, where function superseded ornamentation. Eugenia Sheppard famously described him as an "architect" for designing garments with structural elements like hoods resembling roofs and pockets like rooms. He proudly labels himself a "high-level hacker at heart."

The Subversive Act of Creation: Questioning Through Design

Castelbajac agrees that he was "kidnapped by fashion and subverted it in return," drawing a distinction between designers, who answer questions, and artists, who pose them. He recalled the public's reaction to his 1987 teddy bear coat—uncertainty whether it was clothing or sculpture, which led to a dedicated "Clothing-Sculptures" room in the exhibition. Similarly, placing Jackie Kennedy's face on a dress with a black veil, or President Obama's image on a sequined dress before his election, were acts of questioning that transcended fashion, eliciting emotion and even threats. These unique pieces underscore his belief that his work is not merely about attire, but about evoking deeper reflection.

The Ever-Evolving Present: Rejecting the "Retrospective" Label

Castelbajac's preference for the present over the past is evident in his avoidance of the term "retrospective." He sees his work as a continuous flow, noting that his favorite perfume is L'Air du Temps, symbolizing a dynamic and unfolding narrative. He finds his secret to longevity in this forward-looking perspective, continuously connecting his early works with current projects like those for Notre Dame and Palace Skateboards.

A Multi-Faceted Creative: The Archipelago of Jean-Charles de Castelbajac

Castelbajac likens his diverse career to a cat's nine lives, an "archipelago of creativity" where different audiences recognize him for his art, design, or fashion. He described the 1970s as a decade of exploring materials and function, exemplified by his military school blanket jacket—a protective garment inspired by his mother's belief in his work. A turning point arrived with Farrah Fawcett's Vogue cover, wearing one of his light cotton voile shirts, leading to extensive collaborations for Charlie's Angels and a lasting friendship.

Collaborations Across Eras: From Celebrities to Spirituality

Working with contemporary celebrities like Lady Gaga, Katy Perry, and Rosalía, Castelbajac sees these collaborations as extensions of his mission to infuse hope and universality into his work, much like his contributions to Notre-Dame. The 1980s marked a period of intense artistic and fashion experimentation, collaborating with photographers like Robert Mapplethorpe and Peter Hujar. His cartoon sweaters for Iceberg, initially unauthorized, became an defining element of hip-hop culture, entering collective memory. This decade also saw his work take on a spiritual dimension through his involvement with Saint John Paul II and World Youth Day, shifting his focus from mere garments to material serving the immaterial, dressing millions and hundreds of bishops, transcending experimental fashion into a universal realm.

Fashion as a Monarchy: Rituals, Responsibility, and Connection

While Castelbajac does not equate fashion with religion, he views it as a monarchy with its own palaces, rituals, and courtiers, suggesting it has cult-like aspects. He believes the world is moving towards universal analogies, where creative disciplines merge, and boundaries dissolve. He sees his role as an "icebreaker for indiscipline," fostering porosity between creative fields. Today, fashion shows are performances, window displays are installations, and images are works of art, indicating a seamless integration. He is deeply interested in the growing sense of responsibility in fashion and its power to spread positive energy.

Sustained Partnerships and an Enduring Style Philosophy

Castelbajac thoughtfully selected collaborations for the exhibition, aiming to present a "living anthology" of his work. He highlighted the timeless quality of his Hudson Bay blanket coat from 1976 and his long-standing partnerships with brands like Rossignol (23 years) and Palace Skateboard (10 years). His objective is to demonstrate to younger generations the importance of cultivating a distinctive style. He recalled André Courrèges's insight that they both practiced "style," not just "fashion." For Castelbajac, style is fundamental—a definition of life itself, characterized by his unique cuts, vibrant colors, and emotional depth. His obsession with transforming everyday objects into garments, or paintings into dresses, speaks to his immersive approach to design.

Arriving in the Present: The Current State of Fashion and Staying Relevant

Castelbajac notes that he has never been busier, feeling that after years of anticipating or being ahead of trends, he has finally "arrived." He perpetually questions himself while remaining confident in his vision. He admires the talent of the emerging creative generation, whom he sees as "world-builders," and observes the rise of "democratic beauty" in collaborations like Zac Posen for Gap and JW Anderson for Uniqlo and Dior. He believes there is a growing recognition that beauty serves as "social cement," making fashion accessible beyond an elite few. This lifelong quest led him to meticulously refine even a t-shirt at Benetton, dedicating more effort than some might for an evening gown.

The Ever-Curious Creator: A Child's Gaze and Breaking Rules

His secret to staying relevant is simple: to remain a devoted fan, maintaining a childlike sense of wonder, marveling at others' talents, and being astonished by the world's beauty. Seeing his work live on through others, such as Drake wearing his coat, deeply moves him. Recently, he has embraced collaging, drawing with his left hand while cutting with his right, symbolizing his reconciliation of fashion and art. He intends to continue his journey as both a designer and an artist, perpetually challenging norms and breaking new ground. The exhibition, "Jean-Charles de Castelbajac: Imagination at Work," will be on display at Les Abattoirs in Toulouse until August 23, 202