DRJ MATHIEU, Creator / Stylist

( MERCI PACO POUR M'AVOIR OUVERT VOTRE PORTE. GRACE A VOUS J'EXISTE. IL Y A ENCORE BEAUCOUP A FAIRE...  ). Je suis tres triste de la disparition d'Olga le 22 mars 2017.
 
Emigrated in 1993 to a fantastic, optimistic,
and creative country, Australia.
In 2003, in Sydney, Australia, Daniel launched
his brand: drjmathieu. 
In 2013, he opened his own Gallery Online:
les-arts-exclusive.com.
2017 launching la Gallery (at the Balmain Market)
corner of Curtis Rd. & Darling St.Balmain
(Mayflower Hall) 
Opening hours:
Friday 4pm to 9pm
Saturday 10am to 3pm

   AT FANTASTIC PRICES   
   UNIQUE FASHION DESIGNS AT LA GALLERY 

         

     DANIEL SELF-PORTRAIT

     ARTIST NAME DRJ MATHIEU OR DRJMATHIEU 


DRJ MATHIEU WAS BORN IN FRANCE IN 1945, AND GREW UP IN PARAY-LE-MONIAL. AFTER STUDYING A CERTIFICATE AS A FITTER, AND ALSO COMPLETING CERTIFICATES IN INDUSTRIAL AT THE SACRED HEART AND ADVERTISING DESIGN, ECOLE ESTIENNE PARIS-FRANCE, HIS WORKING LIFE BEGAN, AND HE WAS ABLE TO LIVE AND PURSUE HIS DREAM. IN 1968 DANIEL WORKED FOR THE BIGGEST PNEUMATIC COMPANY IN EUROPE Michelin. HE WORKED AS A TECHNICAL DESIGNER FOR THREE YEARS IN CLERMONT-FERRAND, AND AS A ADVERTISING DESIGNER FOR TWO YEARS IN PARIS.
 
              


VIRTUALLY OVERNIGHT, DANIEL DISCOVERED HIS CREATIVE SIDE FOR FASHION
 Haute Couture          
               
 
DANIEL WAS SO INSPIRED, THAT HE ENROLLED AT "ECOLE DES BEAUX ARTS" IN PARIS ENABLING HIM TO PURSUE THIS BURNING DESIRE THAT WAS ENGULFING HIM. 

TO DANIEL, THIS WAS LIKE AN ERUPTING VOLCANO.
 FROM THERE, HE CONTACTED Paco Rabanne ( DUE TO HIS FASCINATION FOR HAUTE COUTURE), AND TO DRJ'S DELIGHT, PACO RABANNE SAID YES. DRJ'S DREAM EVOLVED, AND IT WAS BEGINNING TO BECOME A REALITY. IT WAS A MAGICAL TIME FOR HIM AND HE WAS ABLE TO EXPLORE MUCH OF HIS CREATIVE SIDE. IN THE NEXT TWO YEARS,HE WENT TO THE CREATOR, Jacques Esterel Haute couture. FOR MORE MONEY DANIEL WORKED AT NIGHT AND HE OBTAINED A JOB AT THE PRESTIGIOUS CABARET, the Lido AS A "CELLARMAN".
TWO YEARS LATER, JACQUES ESTEREL PAST AWAY, SO HE HANDED IN HIS RESIGNATION. FROM THERE HE CONTACTED THE MOST IMPORTANT ADVERTISING COMPANIES IN PARIS: YVES ALEXANDRE CONSEIL, MOUILLARD AND MOUILLARD, SEGUELA, EUROCOM, HACHETTE, IMPACT, Belier, ETC... AND HE SUCCESSFULLY BEGAN WORKING AS A FREE-LANCER. HIS DREAM WAS FINALLY TAKING FORM, AND THE POSSIBILITY OF CREATING HIS OWN STYLE AND SIGNATURE IN THE HAUTE COUTURE ENVIRONNEMENT WAS BEING BORN. HE WENT AND PRESENTED HIS FIRST COLLECTION AT MAURITUS, AND THEN IN 1979 IN PARIS, THEN STARTED TO INSPIRE THE FASHION INDUSTRY.
               
               

THE YEARS 1979 TO 1989 BECAME A PERIOD OF RESEARCH, EXPERIMENTATION AND DISCOVERY
               

FOR DRJ! WORKING FOR Yann Arthus Bertrand AS ARTISTIC DIRECTOR FOR 5 BOOKS. ALSO, WORKING FOR THE BROTHERS  Bogdanov.
               

AT THIS TIME HE ALSO PARTICIPATED IN THE LARGEST EVENT TO RAISE MONEY FOR AIDS AND THE Galla de l'union DES ARTISTES.
IN 1989 - GUIMET MUSEUM SPECIAL FINANCES APPEAL FOR DANIEL HAUTE COUTURE HOUSE PRESENTED BY PIERRE DOUGLAS.
               

IN LATE 1989, THE REALITY OF NOT HAVING ANYMORE MONEY HIT HOME, AND DANIEL WAS FORCED TO DISCONTINUE HIS WORK, THIS CRUSHED HIM, AS IF REMOVING THE WINGS FROM A BIRD, HE COULD NO LONGER SOAR IN HIS CREATIVITY. ALL THAT REMAINED WAS HIS PEN AND PAPER; THE SYMBOL OF HIS FREEDOM.
               

IN 1993 DANIEL FELL IN LOVE AND MARRIED A BEAUTIFUL AUSTRALIAN WOMAN AND EMIGRATED TO SYDNEY AUSTRALIA . HIS CHANGE OF COUNTRY HAS BEEN CHALLENGING. STARTING FROM SCRATCH WITH NOT A WORD OF ENGLISH AND NO FINANCE. DANIEL EARNED HIS LIVING WITH WHATEVER WORK TO SUPPORT HIS ART. WORKING 15 YEARS AT THE FAMOUS Taronga Zoo WHERE EVERYONE HE KNOWS IS A LITTLE PIECE OF PERFECTION. 
NOW, DANIEL HAS RETURNED TO HIS PASSION, ART. DANIEL OPEN THE GALLERY
               
                   
AT BALMAIN MARKET (MAYFLOWER HALL), ON FRIDAY FIRST SEPTEMBER 2017. LA GALLERY IN BALMAIN MARKET IS FOR EVERYONE WITH ONE PASSION, ART. DANIEL HIS READY FOR MORE... LOOKING FOR A SPONSOR TO COMMERCIALISE ALL HIS IDEARS AND DIFFERENT COLLECTIONS... SUNGLASS, SCARVES, RUGS, LIGHTING COLLECTION, SOFT FURNITURES, AND MORE. 
CREATIVITY NEED OPPORTUNITIES TO EXIST.


MY WORK:

FASHION
IN THE FASHION, MY CREATIVITY IS ABOUT HARMONY BETWEEN PROPORTION, FORM,
LINE, COLOUR AND TEXTURE. EACH HARMONY REPRESENTS A UNIQUE FEELING OF BEAUTY,
FEMINITY OR MASCULINITY. THE DESIGN CONTROLS THE INTENSITY.

             
PASTEL DESIGN
 CAPTURING IMAGES FROM MY NATURE OF LIFE WITH MY OWN PASTEL TECHNIC.  
THE DNA (deoxyribonucleic acid) IS A TWISTED LADDER WHICH CONTAINS THE BIOLOGICAL INSTRUCTIONS THAT MAKE EACH SPECIES UNIQUE. (Wikipedia ref.). TODAY, SCIENTISTS USE DNA AS A MOLECULAR TOOL TO EXPLORE PHYSICAL LAWS AND THEORIES. AS AN ARTIST, I'M WORKING WITH MY OWN DNA CONCEPT AND TECHNIQUE.
            
STAINGLASS COLLECTION
            

SCULPTURES COLLECTION
            

 COLLECTION FOR DECORATORS
           


DANIEL'S COUTURE 
         
  MY STYLE  / FROM COLECTION 2017 


IT IS WITH MY GREATEST GRATITUDE TO THANK 
ROSE BERTIN AND CHARLES FREDERICK WORTH, WHO WERE THE PRECURSORS OF HAUTE COUTURE.


From England, Worth moved to Paris in 1846 and was taken on by Gagelin-Opigez et Cite as a selling clerk. Gagelin-Opigez was one of the most prominent clothing establishments in Paris (sold only the finest goods) and specialized in shawls and wraps. Charles Frederick Worth began sewing dresses to complement the shawls advertised at Gagelin-Opigez. His expert tailoring caught the eye’s of clients, leading him to design dresses of his own. Generally, dresses were designed to please the client, but Worth designed and created his own visions, innovating the fashion world in a contemporary direction. In the 1850, Worth began designing and creating dresses for Gagelin. He initially made simple dresses to accompany Gagelin's shawls and wraps; but women noticed the expert creation of Worth’s dresses and wanted to buy them as well. Eventually, Gagelin granted Worth permission to open a dress department, officially marking his entrance into the dressmaking world. Family and Career Marie Vernet Worth After marrying a Gagelin employee, Marie Augustine Vernet, Worth was eager to establish himself apart from the Gagelin name. Marie was one of the few people who would model his latest creations on the Parisian boulevards. Together, Marie and Charles Worth had two sons, Gaston Lucien, born in 1853, and Jean-Philippe, born in 1856. Worth acquired a partner, Otto Gustaf Bobergh, and the two developed their own brand at 7 rue de la Paix, naming the it “ Worth and Bobergh." House of Worth Height of Career Within a decade, Charles Worth’s designs were recognized globally and were in high demand because of expert detailing and unique design. Worth’s dresses became excessively popular in the 1850’s. He offered a new approach to the creation of dresses, offering a plethora of fabrics (from Gagelin’s )and an expertise in tailoring. In 1858, Worth’s name was recognizable and he decided to open his own business. He sought a financial partner, Otto Gustaf Bobergh, and "Worth et Bobergh" opened on 7 rue de la Paix. Worth's clientele was astonished by his beautiful creations. His clientele widened and he, most notably, gained the admiration of Empress Eugenie, wife of Napoleon III. With the support of Empress Eugenie, he fully launched his universal career, from New York to Wales. Style Constantly looking to innovate couture, Worth set the edge for popular trends by initiating the various silhouettes, lengths, and designs of skirts, hats, shawls, and capes. Worth’s dresses were worn at a variety of occasions, from aristocratic royal events to masquerades. Lavish dresses and costumes were created using precious stones and colorful fabrics to complement various themes and events. Crinoline In 1864, at the full height of his success, Worth reformed the highly popular trend, the crinoline, due to its absurdity in the everyday world. The crinoline was growing increasingly larger in size, making it difficult for women to do even the most basic activities, such as walking through doors, sitting, caring for their children, or holding hands. Worth wanted to design a narrower and more practical silhouette for women, so he made the crinoline more narrow and gravitated the largest part to the back, freeing up a woman’s front and sides. Worth’s new crinoline was a wide success. Eventually, Worth abandoned the crinoline altogether, creating a straight skirt. After thirteen years of the cage crinoline trend, Worth had finally abolished its impractical absurdity in the everyday world, giving women a sensible option of dress. 

La prééminence française dans la mode date sans doute du xviie siècle, époque à laquelle les arts, l'architecture, la musique et la mode de la Cour de Louis XIV à Versailles sont admirés et imités par l'Europe entière. Lorsque le chemin de fer et les bateaux à vapeur le permettent, il devient courant pour les dames de la haute société européenne de faire le voyage à Paris pour y acheter vêtements et accessoires. Les tailleurs et les modistes français ont alors la réputation d'être les plus talentueux, et leurs créations sont les plus recherchées. Rose Bertin, marchande de modes, peut-être considérée comme l'une des premières grandes personnalités de la haute couture française. En 1770, cette jeune créatrice de mode ouvre sa maison de couture à l'enseigne « Le Grand Mogol » dans la rue du Faubourg-Saint-Honoré, à Paris ; une audace rare dans un univers d'entrepreneurs essentiellement masculins. Introduite auprès de la reine Marie-Antoinette, elle s'impose rapidement comme la faiseuse de mode de la Cour, gagnant en cela le titre flatteur et envié de « Ministre des Modes » auprès de la souveraine. Sous son impulsion créatrice, la haute-couture française explose de diversité et d’invention : coiffure à la belle poule, pouf aux sentiments, chapeau feu l’Opéra, à la Montgolfier ou à la Philadelphie… Prince des tailleurs et tailleurs des princes, Louis Hippolyte Leroy règne sur la mode française sous le Premier Empire. Fournisseur attitré de Napoléon Ier et de son épouse Joséphine de Beauharnais, il dessine et coupe les costumes de l'Empereur et de l'Impératrice pour leur sacre dans la cathédrale Notre-Dame de Paris en 1804. À la tête d'une prospère et luxueuse maison de couture située rue de Richelieu à Paris (comprenant salon d’essayage, atelier, boutique), il devient le premier couturier star de son époque, refusant de vendre aux provinciales ou aux dames ne se déplaçant pas en personne chez lui dans leur propre voiture. Paris est déjà le temple de la mode avec plus de 2 400 tailleurs référencés. Invention de la haute couture Sous Napoléon III, Paris se transforme en « la ville lumière », et son prestige attire les talents de l'Europe entière. Un jeune couturier d'origine anglaise, Charles Frederick Worth (1826–1895), s'installe dans la capitale française. Après un premier apprentissage auprès de la maison Gagelin, il ouvre sa propre maison de couture rue de la Paix, à proximité de la renommée place Vendôme. Innovant et original, il introduit de nouvelles pratiques commerciales : c'est la naissance du défilé de mode sur mannequin vivant (alors appelé sosie) et du concept de « collection », également mis en œuvre dans les grands magasins naissant comme Au Bon Marché d'Aristide Boucicaut (surnommé « Au Bonheur des Dames »). La légende, ses nombreuses inventions, et l'auto-promotion agressive de Charles Frederick Worth lui fait par la suite s'octroyer le titre de « père de la haute couture », bien qu'il ne fût ni le premier, ni le seul, à œuvrer dans l'univers de la haute couture parisienne. Worth crée en 1868 une Chambre syndicale de la confection et de la couture pour dames et fillettes, destinée à protéger ses membres contre les copies, où la distinction entre couture et confection n'est pas clairement établie. En 1911, l'organisation prend le nom de Chambre syndicale de la couture parisienne. Mais dès les années 1880, le terme de « haute couture » est établi. En 1914, les sœurs Callot, Paul Poiret, Jacques Worth, Jeanne Paquin, Louise Chéruit, Paul Rodier et le soyeux Bianchini-Férier forment le Syndicat de défense de la grande couture française, dont Paul Poiret prend la présidence, suivi par Georges Dœuillet, avec pour objectif de défendre leurs modèles contre les copies non autorisées. Dans une « profession de foi » adressée au New York Times en 1915, Poiret fustige en particulier les méthodes des « acheteurs américains ». Les générations suivantes de la haute couture française incluent Jean Patou, Madeleine Vionnet, Lanvin, Gabrielle Chanel, Schiaparelli, Balenciaga ou Dior.
 
ALSO, I WOULD LIKE TO GIVE A BIG THANK YOU FOR THE FANTASTIC WORK OF PACO RABANNE, YVES SAINT LAURENT AND PIERRE BERGE. UNFORTUNATELY THE MARKETING KILLED THE HAUTE COUTURE. MARKETING SHOULD PERFORM ONLY WITH LARGE PRODUCTION OF PRODUCTS, NOTE WITH HAUTE COUTURE, WHERE CREATION IS UNIC AND WHERE CREATORS ARE UNIC. YOU CAN'T COPY/PASTE A CREATION OR STYLE FROM A CREATOR EVEN CHANGING SOMME DETAILS. TO DO THIS IS A CRIME.
 
My own definition about Art is: 
The ability to connect with your inner space, essential into any breakthrough "of expression" in all forms of media.

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L'ESPRIT DE JEAN-MARC NESME POURRAIT SAUVER LA FRANCE DU DESORDRE.

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