Last month, when legendary Yves Saint Laurent announced his retirement, this marked the grand finale of high fashion’s golden epoch. During his 44-year career, the 65-year-old couturier had defined the dress “modes” of generations of women all over the globe. As a young woman growing up in Michigan... the “King of Fashion” made an impact on my wardrobe via the Mondrian-inspired dress I flaunted with “go-go” boots in high school, the peacoat and safari jacket I wore in college, and the pantsuit I sported on graduation day. And, though most of us who chronicle, study, sell, promote or buy Saint Laurent’s creations were stunned and saddened by his departure speech, it really, shouldn’t have come as a surprise. In our field, nothing is more “normal” than change and, as we all know, fashion is a fleeting thing.
The market has shifted away from women stepping to the beat of Grace Kelly, Audrey Hepburn and Jacky Kennedy, all faithful patrons of a certain “élégance française.” In their place today are rock stars with trashy tastes along the lines of Madonna, J.Lo and Britney Spears. These new-style celebs now set the tone for younger consumers attracted to flashy brands concepted by rebel designers: John Galliano, Alexander McQueen, Tom Ford and the like... This customer base prefers streetwear to silk sheaths, and “casual Fridays” to power suits. Looking at “Ms. Mode” from his standpoint, Monsieur Saint Laurent became disenchanted with the current “makers” and shakers of fashion, calling it all “a ridiculous spectacle.”
Some fashion professionals — including designer Karl Lagerfeld — say Saint Laurent has become critical of something he himself indulged in at the onset of his career. A year after being named to succeed the late Christian Dior, a then incredibly young Yves sparked a scandal by introducing peacoats, leather jackets, knitwear and “beatnik chic” — borrowed from the street and incorporated into the haute couture collection of France’s most famous high fashion house. After launching his own establishment, he dominated the covers and pages of every glossy monthly and news magazine in sight, by translating art movements like Pop Art and Op Art into dresses. He paid tribute to all of the arts from the Russian Ballet to African Art, as well as to his favorite “icons.” Marcel Proust, Jean Cocteau... Mondrian, Picasso, Monet... Sharing with us his love of life in North Africa — where he was born — he outraged by putting women in pantsuits at once in the workplace and chic restaurants. In 1968, he shocked the American public with his see-through blouses revealing bare breasts. But, he’s best known for his highly personal color sense based on unusual combos such as navy blue and black, hot pink with red, chocolate brown with ebony...
Pierre Bergé propelled Saint Laurent’s modest couture operation toward financial empire status. In fact, the Bergé-Saint Laurent partnership became a model for many young designers who continue to endeavor to emulate it, on account of the success it generated. The idea is that each person takes care of a given aspect of the company: the business partner seeking the means and the money required to “bring alive” the designer’s imagination. In 1966, Saint Laurent was the first French designer to imagine a day when the prêt-à-porter market would be more important than couture’s. Together with Bergé, he launched “Rive Gauche” ready-to-wear and this had some of his colleagues — including the late Pierre Balmain — accusing him of “trying to undermine the market.”
It would take 15 years for his business see to a profit — this thanks to perfume. Though well received, “Y,” “YSL pour Homme” and “Rive Gauche” soon paled in comparison with the world-class success of YSL’s highly controversial “Opium” launched in 1977 — considered by many to glamorize sex, drugs and rock’n’roll, with the backing of its superstar model, Jerry Hall.
Just as the fashion community has changed, so has the global market. In the decade leading up to the Saint Laurent’s retirement, Pierre Bergé started to transform that prestigious fashion house into an international brand name able to run without the presence of its namesake. In the early 1990s, Carlo de Beneditti acquired a 49% interest in the company. With it he helped the couture tandem buy back their perfume business from Charles de Ritz (its owner since 1971). In 1993, YSL was sold to Elf-Sanofi for 3.6 billion francs. But, after years of stagnating sales, and in face of a lethargic designer advised by a business partner somewhat distracted by his presidential connections and new interests... Sanofi wanted out. The whole outfit was suddenly put back on the block, before being subsequently acquired by the Pinault-Printemps-Redoute group in 1999 for a cool 6 billion francs (936 euros), according to a report published in Le Monde. As a matter of fact – the house’s activities are divided in two: YSL Beauté and the ready-to-wear and accessory division, run under the auspices of Gucci.
Though Tom Ford was hired to rejuvenate the ready-to-wear line, interestingly enough, during the 1999 negotiations, the couture division escaped Gucci's control. Albeit owned by Francois Pinault via Artémis, its artistic direction remained the prerogative of its founding couturier. Though speculation regarding the future of YSL couture is swirling about, its “continuance” is doubtful. According to Le Monde, it resembled a terminally-ill patient who had hemorrhaged — chalking up nearly 12 million euros in losses. Besides, as Bergé has declared on numerous occasions, “The haute couture can only exist with Yves Saint Laurent... It’s no longer the right time — Saint Laurent couture soon won’t exist.” While they may no longer be the toast of the town, the illustrious 20th century “couple” won’t walk away empty handed. Libération reports that these lifelong partners will be paid 7.62 million euros annually, plus royalties amounting to 0.4% of the sales from Yves Saint Laurent Parfums until 2016.
With the king of couture stepping out of the spotlight, a page in fashion history seems to have been turned. Still, before saying goodbye to this living legend, why not catch a glimpse of his mythical high fashion, soon to be relegated to history and books? Until February 21, the Galeries Lafayette-Haussmann department store will be dedicating all of its shop windows to YSL’s couture ateliers and their time-honored creativity. Sixteen tableau-like scenes highlighting haute couture and all its stages of intense activity — from sketches to the catwalk — have been reconstructed down to the minutest detail. You can also check out the official website at http://www.ysl- hautecouture.com or make an appointment to visit the Saint Laurent Museum (11 rue de Cambrai, 19e, M° Crimée, tel: 01 53 35 85 38).
