Júlia Schönberg

[Minerva13]

Júlia Schönberg


Portuguese
Ethnicity: German
Date of Birth: 5 may 1983
Place of Birth: Lisbon,Portugal
Hair: Brown
Eyes:Brown
Height: 173 cm
Bust: 86 cm
Waist: 61 cm
Hips: 86 cm
Shoes: 39

Fashion shows:

Ready yo wear - Autumn/ Winter 1991 {Paul Costelloe}
Ready to wear - Autumn/Winter 1993 {Loewe}
Haute Couture - Spring/Summer 1994 {Christian Lacroix}
Ready to wear - Spring/Summer 1996 {Issey Miyake}
Haute Couture - Autumn/Winter 1996 {Christian Lacroix, Paco Rabanne}
Ready to wear - Spring/Summer 1997 {Balenciaga}
Ready to wear - Autumn/Winter 1997 {Dries Van Noten, Jean Paul Gaultier, Veronique Leroy}
Ready to wear - Spring/Summer 1998 {Christian Lacroix, Jean Paul Gaultier}
Haute Couture - Spring/Summer 1998 {Jean Paul Gaultier}
Ready to wear - Autumn/Winter 1998 {Jean Paul Gaultier}
Ready to wear - Spring/Summer 1999 {Jean Paul Gaultier}
Haute Couture - Spring/Summer 1999 {Jean Paul Gaultier}
Ready to wear - Autumn/Winter 1999 {Oscar de la Renta}
Haute Couture - Autumn/Winter 1999 {Balmain, Christian Lacroix, Jean Louis Scherrer, Jean Paul Gaultier}
Ready to wear - Spring/Summer 2000 {Jean Paul Gaultier}
Haute Couture - Spring/Summer 2000 {Balmain, Jean Paul Gaultier}
Ready to wear - Autumn/Winter 2000 {Jean Paul Gaultier}
Haute Couture - Autumn/Winter 2000 {Jean Paul Gaultier}
Ready to wear - Spring/Summer 2001 {Jean Paul Gaultier, Vicente Romeo}
Haute Couture - Spring/Summer 2001 {Jean Paul Gaultier}
Ready to wear - Autumn/Winter 2001 {Jean Paul Gaultier}
Haute Couture - Autumn/Winter 2001 {Jean Paul Gaultier}
Ready to wear - Spring/Summer 2002 {Jean Paul Gaultier}
Haute Couture - Spring/Summer 2002 {Jean Paul Gaultier}
Ready to wear - Autumn/Winter 2002 {Jean Paul Gaultier}
Haute Couture - Autumn/Winter 2002 {Jean Paul Gaultier}
Ready to wear - Spring/Summer 2003 {Jean Paul Gaultier}
Haute Couture - Spring/Summer 2003 {Jean Paul Gaultier}
Ready to wear - Spring/Summer 2004 {Jean Paul Gaultier}
Haute Couture - Spring/Summer 2004 {Jean Paul Gaultier}
Ready to wear - Autumn/Winter 2004 {Hermès, Jean Paul Gaultier}
Haute Couture - Autumn/Winter 2004 {Jean Paul Gaultier}
Ready to wear - Spring/Summer 2005 {Jean Paul Gaultier}
Haute Couture - Spring/Summer 2005 {Jean Paul Gaultier}
Ready to wear - Autumn/Winter 2005 {Jean Paul Gaultier}
Haute Couture - Autumn/Winter 2005 {Jean Paul Gaultier}
Ready to wear - Spring/Summer 2006 {Hermès}
Ready to wear - Autumn/Winter 2006 {Hermès, Jean Paul Gaultier}
Haute Couture - Autumn/Winter 2006 {Jean Paul Gaultier}
Ready to wear - Spring/Summer 2007 {Hermès, Jean Paul Gaultier}
Ready to wear - Autumn/Winter 2007 {Hermès}
Ready to wear - Autumn/Winter 2008 {Hermès, Jean Paul Gaultier}
Ready to wear - Autumn/Winter 2009 {Hermès}
Haute Couture - Autumn/Winter 2012 {Jean Paul Gaultier}


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[MagFan]

Meet Julia Schönberg, Jean Paul Gaultier’s Longtime Muse
By Laird Borrelli-Persson

There have been many notable cameos in Jean Paul Gaultier’s shows, but the appearance that always mattered the most to me was that of the woman who everything started with, the designer’s muse and fit model turned studio assistant, Julia Schönberg. It wasn’t just that she was so beautiful; here was a woman with a self-assured presence and quiet confidence. Not to mention range: Over the years she transformed herself into many guises on the Gaultier runway, from Frida Kahlo to femme fatale. Last night Schönberg made two appearances in the designer’s extravaganza of a swan song—three if you count the navy-and-white lace dress Bella Hadid wore that Schönberg debuted on the runway in 2002.

Schönberg was born in Luanda, Angola, to an Angolan-Portuguese father and an Angolan-German mother. The family left the country during the country’s war of independence and settled in Portugal. It was in Lisbon, at 17, that Schönberg was stopped on the street by the Portuguese model Susana Sabino, who did the couture shows for Chanel and Dior, and was visiting on vacation. “I thought it was a big joke because I didn’t consider myself especially beautiful, but I [thought], I’ll just take my chance, and it worked rather quickly,” explains Schönberg from her home in Provence. Gaultier first saw his future muse in an editorial in i-D magazine and searched the model out. Schönberg made her Gaultier debut walking in the designer’s “Chic Rabbis” collection of fall 1993. “That was the starting point, and then he forgot me for a while because I was doing other shows and he [was looking for] another image [than mine] at that time. Then, about two years [later], he called me again, and we haven’t separated since.” (Well, until the model left Paris eight years ago, that is.)

Here Schönberg speaks to Vogue about coming into Gaultier’s orbit and becoming his muse.

On becoming Gaultier’s fit model:
“I started by doing the shows, and then very soon Jean Paul realized I could be a fittings model because I had the right measurements, I had the right posture, and I had the right inclination of his image of a woman. Everybody says, which is true, [that Gaultier designs for a] strong woman. I think we are all strong anyway, so this is not the issue. I think that…he likes a woman who can have a masculine attitude, but also be very, very feminine. [In this way] a person can be complete, in the sense [of their] image.

This image that he put on me is actually the image I have of myself. Nothing was studied, I was not acting, it was just part of my personality. In the beginning I was just there for some hours to do the fittings, but it soon became days because he realized that my image was inspiring for him to go forward in his research of materials, shapes, and [overall] image. His entourage is a small team and we all had something to say; it was a true collaboration. I was not the fit model who was just there in front of the mirror; we were all participating in [shaping] this new image that he had to invent each for each season.”

On Gaultier’s sense of fun:
“Jean Paul is basically a very positive and happy person, and he really tried to transmit this happiness through his collections. He had the power of [giving] mise-en-scènes to the shows that were so intelligent. He transformed his collections by the music, by the lights. The moods change [over time], but I think there’s something unchanging in Jean Paul, and I think that’s one of the reasons for his success. In all of his collections, he always tried to bring the fun because he sees reality in a fun way. And even if fashion is a huge business, for him it’s a fun business. He has to amuse himself, he has to amuse others; it’s his way of [elevating] everything.”

On diversity:
“Diversity is also one of the great pillars of Gaultier. He accepts everybody because he thinks everybody is beautiful, which is true. He just has so much respect and so much love to think like this, to accept people as they are—and he took a risk. It was a strong statement; nobody else [was doing this in the ’90s]. Nobody had the courage to do it, and he did it. He stuck to his values and he showed his values; you can see that he’s a very strong man. For him, there was no other way. He showed that we’re all beautiful.”

On Gaultier’s next act:
“Every good thing ends one day, but I didn’t think [he’d stop] this year. At the same time, I think that when there’s somebody who does great things, like Jean Paul does, he cannot stop. He probably has—as he said—something up his sleeve. I think he’s going to surprise us with something great; doing the same thing in a different way, I guess.”

On being a muse:
“I was really a small part of his creation; I think that Jean Paul is nourished by so many things. Each person inspires something different. It’s normal, we all have different personalities and different posture and different ways of occupying a space. I think Jean Paul, being an artist, is very sensitive to what comes out of a person. Yes, I was aware that when he put something on me I could give something back, even if I cannot even explain what that was. I don’t know if he can explain it, but I cannot. It was something very invisible, but it worked so well. It was so rewarding. It was really, really a pleasure to see the collection taking shape with all our energy. I’m very conscious that, probably, I was in the right place at the right time, but I’m also conscious that things happen because of a synergy of people, and that’s so important. Life is made of synergy, actually.”


vogue.com

 

[Maayan]

Julia also did the following shows:
Ready to wear - Autumn/Winter 1993 {Issey Miyake, Sonia Rykiel}
Ready to wear - Spring/Summer 1994 {John Galliano, Sonia Rykiel}
Ready to wear - Autumn/Winter 1994 {Christian Lacroix}
Ready to wear - Autumn/Winter 1995 {Emanuel Ungaro, Christian Lacroix, Romeo Gigli}
Haute Couture - Spring/Summer 1995 {Christian Lacroix, Romeo Gigli}
Haute Couture - Autumn/Winter 1995 {Balenciaga, Christian Lacroix, Issey Miyake}
Ready to wear - Spring/Summer 1996 {Balenciaga, Christian Lacroix}
Haute Couture - Spring/Summer 1996 {Louis Feraud}
Ready to wear - Fall/Winter 1996 {Balenciaga}
Haute Couture - Autumn/Winter 1996 {Christian Lacroix}
Ready to wear - Spring/Summer 1997 {Christian Lacroix}
Haute Couture - Spring/Summer 1997 {Christian Lacroix, Pierre Balmain, Torrente}
Haute Couture - Autumn/Winter 1998 {Christian Lacroix}
Haute Couture - Spring/Summer 1999 {Jean-Louis Sherrer}
Haute Couture - Autumn/Winter 1999 {Carven}
Haute Couture - Autumn/Winter 2000 {Carven}
Ready to wear - Autumn/Winter 2001 {Hermes}
Haute Couture - Autumn/Winter 2001 {Jean Luc Evrard}
Haute Couture - Spring/Summer 2002 {Jean Luc Evrard, Seredin et Vassiliev}
x

 

[Maayan]

Christian Lacroix Haute Couture S/S 1995:

My archives

 

[Maayan]

Christian Lacroix Haute Couture F/W 1995:

My archives

 

[Maayan]

Christian Lacroix Haute Couture S/S 1997:


My archives

 

[Maayan]

Christian Lacroix Haute Couture F/W 1998:

My archives

 

[Maayan]

John Galliano S/S 1994:


My archives

 

[sifaka234]

Carven (Paris couture) spring 2000

 

[sifaka234]

Dries van Noten, spring 1997


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