Vivienne Westwood, John Galliano or Azzedine Alaïa: The auction of pieces from the collection of Sylvie Grumbach, founder of the press office 2e Bureau, with the title “De l’avant-garde à aujourd’hu”* – from the avant-garde to today – is an opportunity to reminisce. Through her collection, an entire era of fashion resurfaces.
How did you meet Vivienne Westwood?
I first saw Vivienne Westwood at the Palace in 1980 [Anm. d. Red.: ein Nachtclub in Paris] met. She dated Malcolm McLaren, a manager of English bands. At that time there was already the London boutique Worlds End, which dressed band members, punks and also fans of the music and style that was called New Romantic.
In 1983, after the death of Fabrice Emaer, I left the Palace and opened my press office 2e Bureau** with Vivienne Westwood, Swatch and Jean-Paul Goude. This year, Vivienne Westwood decided to come to France to show on the catwalk. Their first show was at Angelina, a patisserie on Rue de Rivoli, next to the Hotel Meurice]. Of course we were two hours late.
The established brands were already showing in Paris, but this period coincided with the arrival of young international designers at Fashion Week Paris, a phenomenon initiated by Créateurs & Industriels [Anm. d. Red.: einer Plattform von Didier Grumbach, Silvie Grumbachs Bruder, initiiert wurde]. Vivienne Westwood realized that a show in Paris would give her an international image and help her market herself in America.
How do you explain the enthusiasm for fashion shows in Paris?
Paris has become the fashion capital thanks to couture, which represents French excellence.
Can you share an anecdote that you experienced with Vivienne Westwood?
I supervised a traveling fashion photography festival that took place in Monaco. Vivienne was a member of the jury. We walked arm in arm through Monte Carlo. She was dressed as we know her and walked on platforms. I was dressed like Vivienne Westwood: a big pink trench coat and Jean Paul Gaultier platform sneakers. We couldn’t get into the casino.
When and where did you meet John Galliano?
In London in 1984 I attended his Departure collection fashion show at Central Saint Martins, which was inspired by the Directorate’s Incroyables. It was so great that I told him that if he wanted to come to Paris, I would be happy to look after him.
At that time I was looking after Vivienne Westwood. John had great admiration for her and dressed in her clothes. Like all younger generations, he probably had a desire to surpass them. I remember scenes of John sitting at Vivienne’s feet and listening to her. They share the same way of telling a story in their fashion shows. Both are very British.
He founded his brand with the help of a British investor. The story didn’t end well because, of course, there wasn’t a sufficiently quick return on the investment. He came to Paris with his assistant and didn’t have a cent. By the way, neither does Vivienne.
How could he develop collections without money?
He enjoyed the support of Anna Wintour, who was then editor-in-chief of British Vogue. Everyone loved him and he was encouraged by Fayçal Amor, who opened his studios on Rue Servan in Paris and gave him a room. He supported him from his arrival until his meeting with LVMH boss Bernard Arnault, staged by Anna Wintour and André Leon Talley.
What do you remember about John Galliano?
When he arrived he was a bit like Cedric, the little Lord Fauntleroy from the movie The Little Lord. He was very elegant and handsome. When you see how he has changed, it is of course a bit sad. We were very close, I could almost say that I fed him through his early days in Paris; by the way, he really liked my soup.
Together with Philippe Pasquet [Anm. d. Red.: früher Première Vision, jetzt GL Events] we organized a four-day fashion cruise to the fjords. 400 people from the fashion world got on board. There were lectures, stops, film screenings, a new exhibition every evening and so on.
The young designers of the time included Vivienne Westwood, John Galliano, Jean Colonna, Olivier Guillemin and several others. It was June, it was light 24 hours a day and the young people danced on the bridge all night long. On the last night, John was so afraid of not waking up in time that he fell asleep on the piano that was placed in the middle of the ship so he wouldn’t be forgotten.
Were you close to Azzedine Alaïa?
I met Azzedine Alaïa in 1978 through Andrée Putman. From then on I wore his costumes and jersey dresses every day. At that time he hadn’t yet designed what I refer to as his skater dress. I started working with him late. He worked outside the calendar and occasionally, out of friendship, asked me to help him with organizational issues. He didn’t need a press department, he got everything he wanted. One day, Didier Grumbach, then president of the French Couture Association, asked him to be included in the official couture calendar. He agreed.
Azzedine Alaïa was a friend. He spent every night at his sewing table, but every now and then he also came to party. He loved to have fun and went out often. I saw him at the Palace with Grace Jones. He wasn’t dancing in the middle of the dance floor.
How do you explain that he was on the fringes of the fashion system?
He always lived according to his own rhythm. He wanted to show his clothes when he thought and thought they were finally finished. He cut the first models, tried them on and created patterns. He was more or less alone. Today there are many fashion designers who cannot sew.
Is there an anecdote with Azzedine Alaïa?
With him personally, no. With one of his clothes, yes. I often wore that famous black jersey dress with zippers that seemed to wrap around the body. It came up to my knees. It had a collar at the front, but the back was cut so low that you could run your hand down my back. Every time I put on this dress everyone complimented me that I looked very pretty that evening.
One day I borrowed a friend’s dress. We were in the bar at the Palace and people were coming up to her and giving her the same compliments. I realized it was the dress she was putting on, not me.
Are the outfits you recently sold at auction from your personal collection?
Some I have worn myself and others are pieces from catwalks. Back then, many designers didn’t pay attention to their archives, they didn’t have a place to go and very often they weren’t paid. Luckily, I had some clients who enabled me to work as a patron in the fashion industry. I kept these archive pieces, either as payment or because the designers didn’t care.
Why are you separating yourself from these material memories?
The first fifteen years of the 2e Bureau slumbered in an attic in rural Faverolles, which we are currently developing into a foundation for the creative industries in art and fashion. The clothing library has turned into a book library.
Do you feel nostalgic when you look at your collection?
Yes. On the one hand, because many professions didn’t exist yet and we were very close to the designers. They were self-determined and founded their own house. They hoped to make money and make a living from their profession, but their creativity was not silenced. Today we are all dependent on marketing and commerce. I also think that fashion on the streets has become very ugly. Sportswear is for doing sports.
*The auction “De l’avant-garde à aujourd’hui” took place at the online auction house Drouot until September 7, 2023. The pieces come from Vivienne Westwood, John Galliano, Azzedine Alaïa, but also Jean Paul Gaultier, Kenzo, Jean Paul Knott, Kenta Matsushige, Claude Montana, Thierry Mugler, Saint Laurent Rive Gauche, Koji Tatsuno.
**Before Sylvie Grumbach opened her press office Deuxième Bureau, she already worked in the fashion industry: at Valentino, Ungaro, Créateurs & Industriels.
This article was published on FashionUnited.fr. Translation and editing: Barbara Russ