DRJ MATHIEU
 BORN IN FRANCE 

         
MY CREATIVITY STARTED AT 5 YEARS OLD. AT 14 YEARS OLD IT WAS MY DESIGN THAT PROMOTED THE SHIRE OF HAUTE SAVOIE FRANCE AND AT 19 YEARS  OLD A POSTER CONTEST CONFIRMED MY PASSION FOR ART. 
          
AFTER STUDYING A CERTIFICATE AS A FITTER, AND ALSO COMPLETING A CERTIFICATE IN INDUSTRIAL DESIGN 
         
MILITARY PERIOD IN SAHARA.
       
ADVERTISING DESIGN, PARIS-FRANCE. MY WORKING LIFE BEGAN, AND I WAS ABLE TO LIVE AND PURSUE MY DREAM.
I WORKED FOR THE BIGGEST PNEUMATIC COMPANY IN EUROPE Michelin.

       
I WORKED AS A TECHNICAL DESIGNER FOR THREE YEARS AND AS AN ADVERTISING DESIGNER FOR TWO YEARS IN PARIS.

       

VIRTUALLY OVERNIGHT, I DISCOVERED MY CREATIVE SIDE FOR FASHION
 Haute Couture
I COULD ALWAYS 
FEEL THE FUTURE IN DESIGN.

I WAS SO INSPIRED, THAT I ENROLLED, AT NIGHT, AT "ECOLE DES BEAUX ARTS" IN PARIS


ENABLING ME TO PURSUE THIS BURNING DESIRE THAT WAS ENGULFING ME. 
THIS WAS LIKE AN ERUPTING VOLCANO. FROM THERE, I CONTACTED Paco Rabanne  
       
(DUE TO MY FASCINATION FOR HAUTE COUTURE), PACO RABANNE SAID YES. MY DREAM EVOLVED, AND IT WAS BEGINNING TO BECOME A REALITY. IT WAS A MAGICAL TIME FOR ME AND I WAS ABLE TO EXPLORE MUCH OF MY CREATIVE SIDE. IN THE NEXT TWO YEARS, I WENT TO THE CREATOR, JACQUES ESTEREL Haute couture. FOR MORE MONEY I WORKED AT NIGHT AND I OBTAINED A JOB AT THE PRESTIGIOUS CABARET, the Lido AS A "CELLARMAN".
       
TWO YEARS LATER, JACQUES ESTEREL PASTED AWAY, SO I HANDED IN MY RESIGNATION.  I WAS CRUSHED AND THOUGHT IT WAS TOO EASY TO RETURN TO PACO RABANNE. SO, FROM THAT TIME ON, I HAVE BEEN ON A MISSION TO FIGHT FOR WHAT I LOVE THE MOST: HAUTE COUTURE.
        
        JACQUES ESTEREL
         
NOW, I DECIDED TO MAKE MONEY AS A FREELANCER WITH ADVERTISING COMPANIES. SO I CONTACTED THE MOST IMPORTANT ADVERTISING COMPANIES IN PARIS: YVES ALEXANDRE CONSEIL, MOUILLARD AND MOUILLARD, SEGUELA, EUROCOM, IMPACT, BELIER RIVE GAUCHE ETC. AND I SUCCESSFULLY WORKED AS A FREE-LANCER. MY DREAM WAS FINALLY TAKING FORM, AND THE POSSIBILITY OF CREATING MY OWN STYLE AND SIGNATURE IN THE HAUTE COUTURE ENVIRONMENT WAS BEING BORN. I PRESENTED MY FIRST COLLECTION AT MAURITUS, FAR FROM THE FASHION NEST. 
             
 
WHERE I DESIGNED THE MUST OF MY FASHION COLLECTIONS.
 
 
WENT TO MANY DISCOS IN FRANCE PROMOTING MY FASHION WITH THIS POSTER AND ONE FREE SHOW.
       
       
        
       
             
         

TROCADERO / PARIS / WITH URBAN SAX /  FASHION SHOW / ELFRIEDE VOGT CHOREGRAPHER AND MANNEQUIN
       
  PARIS FASHION SHOW GUIMET MUSEUM.
        
TROY FRANCE / FASHION SHOW / ELFRIEDE VOGT CHOREOGRAPHER
       
ALSO, WORKING FOR THE BROTHERS  Bogdanov.
       
       
 I PARTICIPATED IN THE LARGEST EVENT TO RAISE MONEY FOR AIDS AND THE Galla de l'union DES ARTISTES WITH JEAN CLAUDE BRIALY, DESIGNED ET MADE A TROPHY FOR THE SINGER MIREILLE MATHIEU, VOYAGE AT KOWEIT CITY TO INSPIRE ARCHITECT ABOUT A MUSEUM, DESIGNED AND REALISED A PROJET FOR A BABY BATH WITH NEOMEDIA IN TROY FRANCE, DESIGNED 5 BOOKS ABOUT ROLAND GARROS AND ILES OF FRANCE ETC, OPENED AT NIGHT MY OWN GALLERY AT SAINT GERMAIN PARIS ( ALL DAY WORKING FOR ADVERTISING ), DESIGNED AND MADE THE WEDDING DRESS ( LAS VEGAS ) FOR THE PREMIERE OF THE LIDO, DESIGNED AND MADE A SPECIAL COLLECTION FOR A NEW FASHION ( LOUIS SIGATZ ),  WORKING FOR SOME PRINCESSES ETC. MY TRUE JOB WAS CREATOR FOR HAUTE COUTURE, CONSIDER EVERYTHING ELSE AS A HOBBY CREATING MONEY FOR HIGH FASHION.
       
CREATING COSTUMES FOR ROMAIN BALENTINO
       
       
       
        
IN 1989 - GUIMET MUSEUM SPECIAL FINANCES APPEAL FOR HAUTE COUTURE HOUSE PRESENTED BY PIERRE DOUGLAS.
        
       
IN LATE 1989, SO CLOSE TO REACH MY GOAL (4 TO 6 MONTHS), I HURTED THE CLIFF! ...
 I ACCEPTED THE CONSEQUENCES OF MY MISTAKE . MY ADVICE FOR YOUNG CREATOR: HAVE ONE SPONSOR SINCE THE START.
         
TITAN, MY PRECIOUS PROTECTOR
         
         
YES, I FEEL IN LOVE WHEN I LOST EVERYTHING, AND EMIGRATED TO SYDNEY, AUSTRALIA. MY CHANGE OF COUNTRY HAS BEEN CHALLENGING. STARTING FROM SCRATCH WITH NOT A WORD OF ENGLISH AND NO FINANCES. I EARNED MY LIVING WITH WHATEVER WORK TO SUPPORT MY LIFE. AFTER 25 YEARS IN AUSTRALIA, I FELL AUSTRALIAN. IN FASHION INDUSTRY, IT IS THE TIME TO BUY "MADE IN AUSTRALIA". THE HAND MADE SOULD BE REWARDED. WE UNDERSTAND, OVERSEAS HAND MADE ARE ECONOMIQUE, BUT EVERYONE SHOULD HAVE A WORK IN  ANY COUNTRY IN THE WORLD, SO, ACCEPT TO PAY A BIT MORE FOR A BETTER QUALITY. 

    SO, FOR FRENCH PEOPLE TO UNDERSTAND "INTEGRATION"
    TO AN OTHER COUNTRY
 WITH NO ENGLISH SPOKEN .        
         
IL ME FAUT PARLER AVEC LES GESTES.    
         
JE SAISI UNE OPPORTUNITE GRACE A LA GENTILLESSE D'UN AUSTRALIEN, ROGER ASSIS.  LA GALLERIE A SYDNEY, ROYAL ARCADE PITT ST   .
         
J'EXPOSE MON ART ET KOLOZSY AUSTRALIEN SCULPTEUR ( BRONZE ).   
              
         
MON ADMIRATION POUR LE TISSAGE . ACRYLIC  
         
UN EXEMPLAIRE DE MES DESSINS PASTEL. ICI EST REPRESENTE L'INTELLIGENCE INTER-ACTIVE, SOURCE DE VIE. LA GALLERIE SERA OUVERTE DEUX ANNEES. LA CHINE ACHETE TOUTE L'ARCADE OU JE SUIS. IL ME FAUT PARTIR... 
        
AMI D'UN JOUR... AMI DE TOUS LES JOURS.    
        
UN AMI ALAIN BOUE. PLATRE AVEC UNE PATINE BRONZE .   
        
JE RETOURNE A L'ECOLE
DEUX MOIS POUR APPRENDRE A DESSINER AVEC UN ORDINATEUR.
  

       
APRES UN AN DE PRACTICE AVEC ADOBE, JE ME LANCE DANS LA REALISATION D'UNE SERIE DIGITAL SCUPTURES ETC. PARLER LA LANGUE DU PAYS OU VOUS VOULEZ EMIGRER EST LA GARANTIE DE NE PAS PERDRE DE TEMPS POUR VOTRE INTEGRATION ET SUCCES.  



 ccccc Art Bespoke ccccc

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My father in law passed away the 30/9/2018 . This changed my life again.

He was one of the last veterants of world war II in Australia.



ROSE BERTIN AND CHARLES FREDERICK WORTH WHERE THE PRECURSORS OF HAUTE COUTURE.

CHARLES FREDERICK WORTH 1846

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.

ROSE BERTIN 1770

THE ENERGY OF ROSE BERTIN WILL PROVOQUE MY NEW DESIGNS.
Rose Bertin citation: Il n'y a de nouveau que ce qui est oublie. (Cette citation represente une des possibilitees pour la creation.
Autre route pour la creation: Utilise le passe comme un ingredient ou utilise ma personnelle technique / drjmathieu).
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, Dior, Yves Saint Laurent, Paco Rabanne...


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