As you recommended, I paint profusely and also continue to design scale models, sets, and costumes as well as dresses. I will send you the sketches soon. Interactive Elements. I have never in my life met anyone more gifted. If the young man grows up to become a great man, have a thought for me…. Yves Saint Laurent is young, but he is an immense talent.
In my last collection, I consider him to be the father of thirty-four out of the designs. I think the time has come to reveal it to the press. He came back at the beginning of December. In that first suitcase, there was everything. An outline. Share this chronicle: Share on Facebook Share on Facebook.
Other periodicals, including Phantome and Big Beat , sporadically published issues between and that highlighted the careers of rockers in France and elsewhere in the s. Still, these publications and programs stressed the importance of original English compositions in conjunction with examples of French rockers and their translations. This combination reveals how revivalists reconstructed the past to fit their own interests, in this case the music associated with the celebration of les blousons noirs. Several groups wrote and recorded new songs in homage to the earlier style of rock and roll.
The group made its debut at the Golf Drouot, a nightclub once central to the rise of French rock and roll that had lost its position as a cultural mecca by the s Laproux, This juxtaposition between old and new styles was similar to British subgenre of glam rock. As a subcultural movement, glam rock was a reaction to the aesthetics of psychedelic and progressive rock that came to define popular music Auslander, Simon Reynolds observes how glam rock was a conscious revision of earlier cultural forms and ideas, even as the popularity of those forms was central to the success of the subgenre Reynolds, , The brief proliferation of stage shows in France reveals the potency of this revivalist movement and the general fascination with reimagining the s.
Feelgood, both of which had some success in France, Le Poing formed in and declared loyalty to the sound of early rock and roll despite the changes in the styles that characterized popular music in this period. In his memoir, Schmitt recalled the concerts he played both with Au Bonheur and Le Poing and the audiences for revivalism.
By looking to the rebellious energy associated with the initial appearance of rock and roll, revivalists could challenge social conventions and perhaps link up with the spirit of the protests of The revivalists attempted to find that vitality while still recognizing the particular nature of rock and roll in France as something initially translated. Still, the music of Le Poing reveals how some revivalists wanted to emphasize the importance of the original English language rock over the French versions, in essence to suggest a different past to French listeners.
Voulzy ignores the first and emphasizes the later as the experience of the s. While a Michel Polnareff song was included in the recording, translation songs remain absent in defining Voulzy musical recollection. More than just the borrowing of established and successful aesthetics, nostalgia in French popular music reveals how artists reimagined the past in manners that suited their own divergent interests.
Adrien , Y. Auslander , P. Boym , S. Briggs , J. Calvet , J. Eudeline , C. Foucault , M. Brouchard, Ithaca: Cornell University Press. Guffey , E. Jouffa , F. Laproux , H. Lesueur , D. Looseley , D. There he was introduced to Michel de Brunhoff, who was then editor of the French edition of the essential fashion magazine Vogue.
Back in Oran, he began a correspondence with de Brunhoff, sending him fashion and theater sketches. It was at about this time that, struck by the similarity of Saint Laurent's designs to those of the fall—winter collection of Christian Dior, de Brunhoff decided to introduce him to Dior, who promptly hired him as an assistant. During the next two years—years of apprenticeship and intense collaboration— a lasting complicity was established between the two men. On 24 October Christian Dior died from a heart attack at the age of fifty-two.
On 15 November Saint Laurent was designated his successor. At age twenty-one he became the youngest couturier in the world. He presented his first collection in January and had his first triumph with the Trapeze line, which propelled him onto the international scene with its enormous success.
Acheter / s'abonner
He was given the Neiman Marcus Award. While designing six collections a year for the house of Dior, Saint Laurent satisfied his passion for the theater, and he designed his first stage costumes Cyrano de Bergerac , Ballets de Paris de Roland Petit, Influenced by Chanel, the spring—summer collection had solid success and provoked a craze, but the autumn—winter collection saw the appearance of a more controversial style: turtleneck knits and the first black leather jackets.
Singularly prophetic, Saint Laurent had taken his inspiration directly from the street. Drafted into the Algerian armed forces in , he was replaced at Dior by Marc Bohan. Yves a soldier? You might as well try changing a swan into a crocodile! The financial support came from an American businessman, J. Mack Robinson: "I was impressed by such great talent in such a young man. I knew nothing about fashion, and I didn't want to get involved.
This was the realm of Yves, the creator, and I immediately saw that he was a genius" Yves Saint Laurent, p. The house opened officially on 4 December Former employees of Christian Dior left Dior to work for Saint Laurent, and more than half the seamstresses came from the Dior workshops.
The graphic designer Cassandre created the YSL logo. Saint Laurent designed his first dress—labeled —for Mrs. Arturo Lopez Willshaw, followed by the famous white feather costume for the dancer Zizi Jeanmaire. In , on rue Spontini in Paris, the house presented its first show, described by Life as "the best suitmaker since Chanel" p. The pale face of the young couturier then appeared for a moment from backstage; only for a moment, because a swarm of admirers surrounded him, embraced him, devoured him.
The year saw the launch of a perfume for women, called "Y. Saint Laurent explained: "I have never been able to work on a wooden mannequin; I play by unrolling the fabric on the model, walking around her, making her move. Still drawn to the theater, he designed the costumes for Le mariage de Figaro and Il faut passer par les nuages for the Renaud-Barrault company.
In he triumphed with the Mondrian collection named for the modern artist Piet Mondrian , which was surprising for its strict cut and the play of colors. At this time, too, Saint Laurent began a long friendship with the dancer Rudolph Nureyev, for whom he designed stage costumes and street clothes.
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For his summer haute couture show Saint Laurent presented the first see-through garments, the "nude look," and the first dinner jacket: "If I had to choose a design among all those that I have presented, it would unquestionably be the tuxedo jacket. It is in a sense the 'label' of Yves Saint Laurent" Vacher, p. For his haute couture collection of winter — he introduced the Pop Art collection.
He met Andy Warhol and Loulou de la Falaise, his future muse. With the designs of Saint Laurent, ready-to-wear fashion established its pedigree, for he himself supervised the creation, manufacture, and distribution of the clothing: "The ready-to-wear is not a poor substitute for couture.
It is the future. We know that we are dressing younger, more receptive women. That same year he won the Harper's Bazaar Oscar award; published an illustrated book, La vilaine Lulu ; and launched his so-called African dresses. For the spring—summer show, he presented the first jacket for the safari look, more see-through garments, and the jumpsuit, which would be successfully repeated in The style "Il" or "He" was born, comprising mini evening dresses and men's suits: "I was deeply struck by a photograph of Marlene Dietrich wearing men's clothes.
A tuxedo, a blazer, or a navel officer's uniform— any of them. A woman dressed as a man must be at the height of femininity to fight against a costume that isn't hers" Buck, p. In a television interview, Chanel identified Saint Laurent as her spiritual heir, while galleries in London and New York exhibited his theater drawings. The autumn—winter collection was dominated by the tapestry coat, patchwork furs, and jeweled dresses created by his sculptor friends the Lalannes.
Saint Laurent later said that this collection—featuring puffed sleeves, square shoulders, platform shoes, and his famous green fox short jacket—was a humorous reaction to new fashion tendencies. In its wake, he posed nude for the photographer Jean-loup Sieff to advertise his first eau de toilette for men, YSL pour Homme, provoking another scandal.
Beginning in great changes took place. The designs presented in the spring of embroidered cardigans, padded jackets, "Proust" dresses with taffeta frills were greeted triumphantly by a press once again overflowing with praise: "the man is pure and simple, the greatest fashion designer in the world today," said Harper's Bazaar March , p. To close the season with a flourish, Andy Warhol did a series of portraits of Saint Laurent.
The following years found Saint Laurent ever more in demand in the world of film and theater. In an exhibition of his costume and stage set sketches was staged in the Proscenium gallery in Paris. In July of the same year, the couture house moved from its cramped quarters to a Second Empire mansion at 5, avenue Marceau.
Saint Laurent, who was celebrating his fortieth birthday, said: "I don't know if this is my best collection, but it is my most beautiful collection" Au-gust 16, , p. At about this time, Saint Laurent suffered a severe depression, and beginning in rumors circulated about his impending death. He also launched a new perfume, Opium, the advertising for which, orchestrated by the Mafia agency, created a scandal with the slogan "For those who are addicted to Yves Saint Laurent. He said, "This collection is very elegant, provocative, and at the same time wildly modern, which might appear contradictory.
I have sought for purity, but I have interjected unexpected accessories: pointed collars, little hats, shoes with pompons. With these kinds of winks, I wanted to bring a little humor to haute couture, … give it the same sense of freedom one feels in the street, the same provocative and arrogant appearance as, for example, punk fashion. All of that, of course, with dignity, luxury, and style" Yves Saint Laurent, p. During the ensuing decade Saint Laurent carried on with his favorite themes—the now classic blazer, dinner jacket, smock, pea jacket, raincoat, pants suit, and safari jacket—while presenting his collections in the form of the homage to various artists and writers.
Pablo Picasso , the surrealist poet Aragon, the French poet Guillaume Apollinaire , Cocteau, the French artist Henri Matisse , Shakespeare, the American painter David Hockney , the French artist Georges Braque , the French painter Pierre Bonnard , and the Dutch painter Vincent van Gogh were invoked in turn, inspiring strongly colored garments in which were inscribed the emblematic forms of the painters and the verses of the poets. The press around the world never stopped singing his praises.
The s were full and rich for Saint Laurent. The year was the twentieth anniversary of the founding of his couture house; the occasion was celebrated at the Lido, where he received the International Fashion Award of the Council of Fashion Designers of America. In he showed the Noire et Rose collection, introduced the perfume Paris, designed costumes for the play Savannah Bay by Marguerite Duras , and enjoyed the opening of the exhibition "Yves Saint Laurent, 25 Years of Design" at the Metropolitan Museum of New York, the largest retrospective ever devoted to a living couturier.
One million visitors attended the exhibition, organized by Diana Vreeland. As Vreeland put it, "Saint Laurent has been built into the history of fashion now for a long time. Twenty-six years is proof that he can please most of the people most of the time four times a year.
That's quite a reputation" Time , December 12, , p. That same year he made his appearance in the Larousse dictionary.
The next year retrospectives were mounted in the U. That season five hundred of his pieces sold, principally to a foreign clientele. Shares of the Saint Laurent group were introduced on the secondary market of the Paris Bourse in , and the revenues of the house of Saint Laurent reached 3 million francs.
Scandal arose, however, from an interview Saint Laurent gave to Le figaro , in which he spoke of detoxification, his homosexuality, his overuse of alcohol, and his fits of nervous depression. Saint Laurent then launched the perfume Champagne, "for happy, lighthearted women, who sparkle.
In November of that year, in order to devote himself entirely to haute couture, Saint Laurent turned women's ready-to-wear over to Albert Elbaz and men's ready-to-wear to Hedi Slimane.
After forty-four years of fashion designing, Saint Laurent announced the closing of his house at a press conference given on 7 January He took his leave of haute couture with these words: "I have always stood fast against the fantasies of some people who satisfy their egos through fashion. On the contrary, I wanted to put myself at the service of women.
They have already proved it. Saint Laurent fixed the ephemeral and constantly sought beauty, shifting between classicism and provocation. Favoring methodical work, recurrent themes, and improvisations in the form of homages, he referred to other artists as catalysts. By pushing to extremes the exoticism of the street and delving into forgotten folk traditions, he brought forth a new spirit that illuminated his palette, for example, in the African, Ballets Russes , and Chinoises collections.
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In an even more radical shift, he took on the male wardrobe, diverting and transposing the dinner jacket, pants suit, safari jacket, and pea jacket to bring masculine and feminine together in a single design. Buck, Joan Juliet. Saint Laurent, Yves, Diana Vreeland , et al. Yves Saint Laurent. New York: Clarkson N. Potter, Inc. Teboul, David. Paris: editions Herscher, Print this article Print all entries for this topic Cite this article.