1997 Fashion Big Bang: The Palais Galliera Retrospective

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For some, 1997 echoes the release of the first volume of Harry Potter or the early cloning experiments, marking a clear transition. It was an entry into a new era, which Vogue Paris called “the Big Bang.” With its new exhibition, 1997 Fashion Big Bang, the Palais Galliera immerses us in a turning point that questioned both society and the textile industry. Let’s revisit the crowning of great designers, the exploration of bodies, and the taste for spectacle.

1997 Fashion Big Bang, the time travel of Palais Galliera 

Named in 1997 as the Museum of Fashion of the City of Paris, the venue couldn’t have been better chosen to make us relive this year echoing with creative laboratory vibes. Through a circular path, much like the hands of a clock, we travel through time from 1996 to 1998, witnessing the changes and influences that nurtured the Fashion Big Bang of 1997. 38 major dates from the period punctuate our visit, featuring haute couture pieces, excerpts from fashion shows, magazines, photo prints, and other objects reminiscing this era.

Questioning the established codes of fashion, linking different artistic disciplines and addressing societal issues, this year was a key moment in the fashion industry and in pop culture as a whole. A Spotify playlist, steeped in the identity of 1997 and composed by Michel Gaubert, the sound illustrator of the greatest fashion shows of the 1990s, is also offered for a total immersion.

How does the Fashion Big Bang resonate with the context of 1997? 

The launch of the Pokémon TV series, the release of Daft Punk’s first album, the creation of Netflix, the inauguration of the Museum of Fashion and Textile at the Decorative Arts, the first victory of a machine over the human brain, the first metaverse experience in France, the design of the first iMac, Hong Kong handed back to the People’s Republic of China, the first cloning, the development of cosmetic surgery…

If the year 1997 was also decisive in terms of fashion, it correlates with the various cultural, political, and technological events that punctuated the context of that year.

What were the societal questions in 1997? 

The Fashion Big Bang emerged at a moment of questioning for society, regarding life’s vision and philosophy, sexuality, the relationship to the body and the idea of its ideal version, the challenge of beauty standards established since antiquity, and the discovery of the androgynous figure… 

These questions nourished the collections of designers showcased in the 1997 fashion shows, making them relevant and impactful for the morals of the time in search of change. Furthermore, themes specific to the fashion industry enriched artistic reflections and opened discussions, such as the Chic Heroine aesthetic seen on the runways, or photographs by David Sorrenti. 

Living in a transitional period today, it is interesting to discover how the Fashion Big Bang was already questioning these themes back then. 

How did this Fashion Big Bang bring together different artistic universes? 

Between fashion, music, dance, cinema, photography, commerce, and the web… The Fashion Big Bang of 1997 resonated across various artistic fields, rethinking codes and linking the strengths of each discipline to create pieces that marked an era.

Fashion photographers rethought their vision by adding a cinematic dimension, as seen with Philip-Lorca diCorcia. Alber Elbaz reconsidered curves by photographing models via scanning, providing him visibility that propelled him into the industry. David Chappelle highlighted the opulence of Christian Lacroix’s creations, finally in line with the new vision of fashion and the ensuing fast-paced nature.

Music also led to artistic collaborations, such as Walter Van Beirendonck, who created a stage outfit for U2’s lead singer, Bono, questioning the notion of masculinity. Ann Demeulemeester drew inspiration from Patty Smith and the question of androgyny in her spring-summer 1997 collection paying homage to the singer. The artist Bjork, for her part, called on Alexander McQueen to design a kimono and multicultural accessories worn on the cover of her album Homogenic.

Dance also married the influences of the time, with Merce Cunningham integrating the creations of Rei Kawakubo into his contemporary compositions, proposing a new vision of silhouettes.

Fashion and the 7th art also resulted in celebrated creations, such as the costumes for Luc Besson’s The Fifth Element, designed by Jean-Paul Gaultier, which earned him a nomination for the 1998 César Awards.

Creation even infiltrated the sacred, as was the case with Jean-Charles de Castelbajac, who designed the outfits for Pope John Paul II and 5500 officials for the 1997 World Youth Days. 

Why was 1997 named the Fashion Big Bang? 

Shaking up the established codes, the year 1997 is seen as the one that revived an industry that many thought was starting to appear moribund, and which had begun to decline with the number of fashion houses consistently decreasing over the years. 

What was fashion like before and after the Fashion Big Bang? 

Confined for years to a minimalism characterized by perfect lines and cuts, designers allowed themselves more freedom in 1997. From 1996, the spring-summer 1997 collections announced visions deemed radical and completely different, creating an event and signaling the entry into 21st-century fashion.

The Fashion Big Bang operated through an exuberance of fabrics, silhouettes, and colors. Prevalence is the guiding principle behind the collections, nurtured by a spirit of spectacle that broke away from the classicism characteristic of previous years.

The collections of designers began to rethink cuts and silhouettes, which had remained unchanged for years, with a vision of a transformed body in Jeremy Scott’s Rich White Women collection, or reimagined materials, such as Martin Margiela using the stockman not just as a support but as a haute couture piece.

The fashion of 1997 made nods to past creations, blending homage and nostalgia. Tweed was revisited in a nod to Gabrielle Chanel, and peplums recalled Christian Dior’s bar suit. The classical work with materials took another turn, with experiments in draping, cuts, and the accessorization of pieces. Inspirations took root in mythology and ancient Greece to create bestial silhouettes emerging from the depths, as Alexander McQueen did for his first collection at Givenchy. Thierry Mugler explored the animalistic aspect with his iconic collection The Insects, transforming silhouettes into half-human, half-animal creatures.

Which designers left a mark in 1997? 

If 1997 presents itself as a year of change, dubbed the Fashion Big Bang, it is also explained by the context that cast a shadow of tension over the industry, with Gian Franco Ferre’s departure from the House of Dior. Like John Galliano, who found himself at the helm of Dior’s artistic direction and presented his acclaimed first collection, launching him into a 14-year tenure at Dior, other designers also rose to the top of major houses, showcasing their first haute couture collections. This includes Alexander McQueen at Givenchy, Marc Jacobs at Louis Vuitton, Jean-Paul Gaultier, and Thierry Mugler under their own labels.

The period also marks the success of British designers, with the arrival of Stella McCartney at Chloé, who would later redirect the brand towards vegan design.

What pieces reflect this year of transition? 

The Fashion Big Bang of 1997 is reflected both in the pieces themselves and in the relationship consumers had with them. On one hand, the creations by couturiers highlighted the questions and visions of the time, such as Tom Ford at Gucci with his G-String, accentuating the desires for hedonism, and creating a gender-fluid piece.

Additionally, we saw the emergence of a new vision of fashion, more exclusive, with a notion of rarity, echoing the opening of the Colette concept store in Paris, a hybrid space where one could find pieces unavailable elsewhere. The notion of “hit piece” also originated during this period, giving new momentum to certain creations.

The reimagined fashion show

The Fashion Big Bang of 1997 also brought a new vision to fashion shows. On one hand, with a new calendar, making New York the first city to hold fashion shows. Additionally, the model casting codes were rethought, with some designers opting for wild casting to propose a new masculinity.

The scenography of fashion shows linked catwalks and stage performances, creating admiration or dread. The goal, as highlighted by Alexander McQueen, was to evoke emotions.

All these risks and changes brought about by the Fashion Big Bang of 1997 bore fruit, making the haute couture show the most publicized of the 20th century. The Palais Galliera exhibition offers a rediscovery of this period, rich in creativity and meaning, a tribute to haute couture not to be missed.

Find the pieces from the influential designers of the period on Modalova.

Photos: Pinterest