ABOUT OUR COLLECTIONS

Dear visitors,

The exhibition 'Gabrielle Chanel. Fashion Manifesto' is currently on display on both levels of the museum.

To discover our permanent collections, we invite you to visit us in Spring 2021. For the first time in the history of the Palais Galliera, the new galleries on the ground floor will offer you a new perspective on the history of fashion, from the 18th century to the present day, through a renewed tour of our collections.

Ensemble, Y/Project

SHIRT, SKIRT AND PAIR OF SHORTS

Y/Project by Glenn Martens, UGG
Label on the shirt in woven satin fabric, inside middle back neckline, white on black: "Y/PROJECT". Scratch on the shorts stamped on leather patch sewn on the heel, black on beige: "UGG (R) / + / Y/PROJECT"
Ready-to-wear, fall-winter 2018-19
Chalk cotton jersey with black stripes. Jersey with green, yellow and red jacquard stripes. Chalk plastic. Embroidery with black thread. Hazelnut felted woollen canvas. Chestnut brown cupro satin. Brown horn. Beige lambskin and ecru fur. Beige chevron canvas. Beige velvet calfskin. Beige sculpted foam rubber. Shiny black leather.
GAL2020.21.1.1-4
Donation of Y/Project ; Vogue Paris Foundation 2019
Palais Galliera, musée de la Mode de la Ville de Paris

Glenn Martens, born in Bruges, is a graduate of the Antwerp Academy of Fine Arts. After working with Jean-Paul Gaultier and Bruno Pieters, he became assistant to Yohan Serfaty, founder of Y/Project. After the latter's death in 2013, he took over the artistic direction of this company and metamorphosed its image, creation and sales results. In June 2017, Y/Project won the Grand Prix de l'ANDAM to help develop the brand.

This silhouette of the fall-winter 2018-19 ready-to-wear collection challenges the structure of the garment, one of the main characteristics of the Belgian school of which Glenn Martens is the heir. The shoulders of the oversized polo shirt are pinched and then folded down at the front. From its long buttonhole, only the button on the throat is closed, forcing the garment to be worn differently.

The influence of the history of the costume can be seen in the wide, thick felt wrap skirt, whose structure held by a button recalls the skirts of Amazons at the end of the 19th and beginning of the 20th century. The stream of lining that spews out from its opening is reminiscent of the representations of rolled-up skirts present in 17th century Flemish painting, while evoking the work of Martin Margiela who, between 1988 and 2008, never ceased to reveal the inside of the garment.

Finally, the silhouette ends with long thigh boots made in collaboration with the Australian brand UGG, known for its soft and comfortable eco-friendly sheepskin boots. Far from the popular examples that were abundantly worn in the 2000s and 2010, these 1.54 metre high shorts feature high heels and generously draped over the leg. This unexpected collaboration between an avant-garde label and a popular brand is conceived by Glenn Martens as "Iconic, eclectic, versatile. But above all fun," like his advertising campaign depicting models photographed as masterpieces of art history, including The Birth of Venus de Cabanel (1863), only booted in these waders.

Notice's author : Alexandre Samson