Running from February 26 to March 9, 2022, Galerie Duret in Paris (7bis rue des Saints-Pères, 75006) is paying tribute to the era of the supermodel with Eternal Nineties. The official opening takes place March 3, from 6 to 9.30 p.m.
Looking back through the lens of the 2020s—especially an uncertain era—the 1990s seem (at least tinted through rose-coloured glasses) as a more prosperous, optimistic time, and Eternal Nineties takes the view that modern pop culture was shaped by that era.
Some at the time had wondered whether the 1990s was rehashing work from previous eras, and the exhibition notes make some reference to this: ‘The Simpsons, Friends and Sex and the City series, the Home Alone, Basic Instinct and Pulp Fiction films, the Spice Girls group, Britney Spears or even techno parties—paradoxically enough, people born in the late 1970s also feel closer to all this than their children born in the 2000s.’
But there is no doubt that the 1990s are being viewed today as a more comforting, reassuring time, not unlike the the 1950s’ settings of Grease and Happy Days were to westerners in the 1970s. ‘The comeback of the ’nineties is a phenomenon that cannot be ignored. Today, Friends breaks all records for the number of views on platforms like Netflix. But above all, the ’nineties is the era of supermodels,’ says the Galerie.
The era commenced with the January 1990 British Vogue cover shot by Peter Lindbergh, featuring the “supers”: Cindy Crawford, Naomi Campbell, Tatjana Patitz, Linda Evangelista, and Christy Turlington. The exhibition calls it a golden age for fashion photography, one where its sensual, ‘unearthly’ imagery has become iconic, instead of having faded away through time.
The exhibition, curated by the art critic and independent curator Nikita Dmitriev, shows the work of Jacques Burga, Fred Meylan, Sylvie Castioni, Sabine Villiard, Félix Dol-Maillot, Pierre-Alban Hüe de Fontenay, and Denis Boulze, as they take the 1990s as an inspiration for their later work, dating from 2007 to 2021.
Burga, Castioni and Meylan have gone for the “woman as goddess” theme; Dol-Maillot, Boulze and Hüe take a more intimate approach; Villiard aims for the surreal. Find out more at galerieduret.com, including ticket purchasing.