10 - MICHAEL JACKSON

MICHAEL JACKSON Red “Beat It” jacket, featuring red openwork panels, with Michael Jackson’s inscription and signature. Accompanied by a letter from MJJ Productions describing a custom-made jacket from his personal wardrobe. In Michael Jackson’s visual universe, the “Beat It” jacket holds a unique place. It does more than simply clothe the performer—it defines a silhouette. The red color, metal fasteners, and structured cut create an instantly recognizable look that blends urban fashion with a choreographed costume. This outfit is at the center of the short film directed by Bob Giraldi in 1983, in which the confrontation between two gangs transforms into a collective sequence driven by a message of nonviolence. The design quickly transcended the confines of the film. On March 20, 1983, Michael Jackson appeared at the premiere of *Dreamgirls* in Los Angeles wearing the red zippered jacket that would soon be associated with “Beat It”—eleven days before the short film’s first broadcast. The garment thus contributes to the public construction of the character as much as to his on-screen portrayal: it belongs to that moment when costume, music, and personal appearance become components of a single visual identity. This particular piece reinterprets that aesthetic with red openwork panels. The monochromatic treatment of the shoulders extends the color of the jacket’s body, while the mesh panels introduce a contrast in texture against the smooth surfaces. The strength of the design lies in this balance between a dominant color and a network of metallic details that highlight its construction. The letter from MJJ Productions does not simply describe a jacket inspired by “Beat It.” It uses three key descriptions: “custom made,” “signed by him,” and “from his personal wardrobe.” It thus presents the donated garment as a custom-made piece, signed by Michael Jackson and taken from his personal wardrobe. This designation serves as the historical anchor of the file. The phrase “one of his […] jackets” is also significant: it places the “Beat It” model within a collection of personal garments, rather than reducing it to a single costume. This particular item can thus be studied as an expression of a lasting sartorial language, with its own distinct characteristics, without attributing to it a specific filming or performance that the document does not mention. The notation “1998” calls for a specific interpretation: it does not necessarily correspond to the year the autograph was signed. Michael Jackson used it in advance on items signed before that date. A related account involving a signed copy of *Dancing the Dream* provides a specific example: the book bears the inscription “1998,” while its owner reports having obtained the signature in 1993. This same account traces the use of this inscription back to the late 1980s. This date can also be interpreted as a symbolic reference to the year he turned forty, which he did on August 29, 1998: the artist is said to have associated this milestone with a fear of death and his apprehension about growing older. The black inscription on the front adds a personal dimension to this graphic design. Placed directly on the garment, it transforms its surface into a handwritten medium. Since the letter explicitly announces the donation of a signed jacket, the file establishes a descriptive correspondence between the object on display and the garment mentioned in the document. Finally, the charitable context gives the lot a history of transmission distinct from its purely sartorial interest. The correspondence situates the donation within an effort to support children and as part of an event benefiting UNICEF. The garment appears here not only as part of the artist’s wardrobe but as a personal object mobilized for a cause: its symbolic value is complemented by its function as a donation. Through its visual presence and the specificity of the accompanying documentation, this jacket serves as a meeting point between fashion design, artistic identity, and charitable giving. Its appeal lies in this convergence: a recognizable variation on the “Beat It” model, an inscription directly on the garment, and a description identifying it as having come from Michael Jackson’s personal wardrobe.