Yves Saint Laurent (designer)

Contents

Yves Henri Donat Mathieu-Saint-Laurent (1 August 1936 – 1 June 2008), better known as Yves Saint Laurent (/ˌiːv ˌsæ̃ lɔːˈrɒ̃/, also UK: /- lɒ-/, US: /- loʊ-/; French: [iv sɛ̃ lɔʁɑ̃] ⓘ), was a French fashion designer who founded his eponymous fashion label in 1962. He was the last of the grand couturiers and is regarded as one of the foremost designers of the 20th century.[1]

Saint Laurent received numerous distinctions for his work, including the International Fashion Award from the Council of Fashion Designers of America in 1982. In 1983, he became the first living fashion designer to be honored with a solo exhibition at the Metropolitan Museum of Art. In 2007, he was elevated to the rank of Grand officier de la Légion d'honneur.

Early life and education

Yves Henri Donat Mathieu-Saint-Laurent was born on 1 August 1936, in Oran, Algeria,[2][3] the eldest of three children of French (Pieds-Noirs) parents, Charles and Lucienne Andrée Mathieu-Saint-Laurent. His family was wealthy; Charles ran an insurance company and owned a chain of movie theatres. Yves grew up, with his sisters Michèle and Brigitte, in a villa in town, spending summers at the nearby resort of Trouville.[4] He attended a strict Catholic school, where he was bullied and beaten by classmates for being effeminate. After seeing a play for which Christian Bérard had designed the sets and costumes, he began doing the same, creating miniature theaters and designing costumes for the local dance school. By age 13, he was transcribing and illustrating books; in 1949 and 1950, he wrote two children's books. He had always been preoccupied with fashion; as early as age three, he would become upset if he didn't like what his mother was wearing. In 1953 and 1954, inspired by fashion magazines and the models Bettina Graziani and Suzy Parker, he created 11 paper dolls and 500 garments and accessories for them.[5][4]

In 1953, age 17, Saint Laurent submitted three sketches to a contest for young fashion designers organized by the International Wool Secretariat in Paris; he won third prize in the dress category. The following year, he competed again and won first prize. He met Vogue France editor Michel de Brunhoff, who encouraged him to enroll at École de la chambre syndicale de la couture parisienne. In 1955, he graduated at the top of his class. de Brunhoff looked at his sketches and saw that they were very similar to those of Christian Dior, but he knew that they were original. He arranged for Dior and Saint Laurent to meet on June 20, 1955; Dior hired him on the spot.[5]

Career

The House of Dior 1955-1960

Saint Laurent spent his first year at the House of Dior designing accessories and submitting sketches, with Dior accepting an increasing number. "Dior fascinated me," Saint Laurent later recalled. "I couldn't speak in front of him. He taught me the basis of my art. Whatever was to happen next, I never forgot the years I spent at his side."

With the death of Dior in 1957, at age 21, Saint Laurent became the head designer of the House of Dior, the most influential and profitable fashion house in the world. The simple, flaring lines of his first collection for Dior, called the "Trapeze" line, introduced a wedge-shaped silhouette, which was a variation on Dior's A line. Dresses in the collection featured a narrow shoulder that flared gently to a hem, widening from a small head and shoulders to a full pleated or stiffened hem that just covered the knee.[6][7] In his second collection for Dior, presented for fall 1958, Saint Laurent lowered hemlines by three to five inches, which some critics and buyers considered a major misstep.[8] Soon after, Marc Bohan was hired to assist Saint Laurent,[9] and the spring 1959 Dior collection brought lengths back to the knee in a well-received collection inspired by the 1930s, noted for its suits and sailor collars, and for making the common middy blouse high-fashion.[10] Following the critical success of his debut "Trapeze" collection in 1958, Saint Laurent achieved widespread celebrity as a leading representative of a new post-war cultural generation.[7] That same year, The New York Times designated him one of France's "Fabulous Five" young cultural icons alongside couturier peers and artists, grouping him with painter Bernard Buffet, novelist Françoise Sagan, actress Brigitte Bardot, and filmmaker Roger Vadim.[11][12]

Saint Laurent's fall 1959 collection focused on a skirt shape that bloused, or "pouffed", over a narrow band to hit at mid-knee for day wear and flared below the knee to the floor for evening dresses.[13] At least one skirt of similar shape had appeared at Dior for fall of 1955, and skirts of this form had been shown by Simonetta in 1957 and 1958, but Saint Laurent's versions were criticized for being too short and too restrictive, and were called "hobble" skirts.[14][15] The silhouette fit trends of the time, also conveyed by Simonetta and Patrick de Barentzen, which included very high collars, jeweled chokers, India-inspired evening wear and 12-inch chignons.[13] Saint Laurent's spring 1960 Dior collection was more sedate, with tailored suits of full smocks over narrow skirts. His fall 1960 collection was his most controversial; dresses were narrow waistless columns with balloon skirts that ended at the top of the knee, which was scandalously short for the time.[16] The inspiration for this look was the bohemian dress of young intellectuals and artists; other garments were inspired by bikers' black leather jackets, remade in mink-trimmed glossy crocodile, with velvet palazzo pants. This Rive Gauche 'Beat Look' included black leather suits and coats, knitted caps and high turtleneck collars, all inappropriate for the mature haute couture client. Saint Laurent failed to court buyers and press and the collection was his last for Dior.[16][7]

In August 1960, during the Algerian War, Saint Laurent was called for his compulsory military service. He was in the ranks for 19 days before the stress of hazing by fellow soldiers led to him being admitted to a military hospital. There he received news that he had been fired from Dior and replaced by Marc Bohan. This exacerbated Saint Laurent's nervous condition, and he was transferred to Val-de-Grâce military hospital, where he was given psychoactive drugs and subjected to electroshock therapy; he would later trace this as the beginning of his mental problems and addictions.[17][18] His lover, the art dealer Pierre Bergé, arranged for his release and took him home to recover. Saint Laurent sued Dior for breach of contract and won the equivalent of $135,000. US. With that, and an investment from the American businessman J. Mack Robinson and the cosmetics company Charles of the Ritz, among others, the pair was able to establish Saint Laurent's own house, Yves Saint Laurent, or YSL.[1][7]

The YSL years

While Bergé, as YSL General Director, dealt with a law suit from Dior over the fact that 25 senior Dior staff had left to join YSL, Saint Laurent worked on his spring 1962 collection which was presented at the new atelier at 30 bis rue Spontini.[19] This collection, of crisp, youthful garments, included pea coats, tweed suits in unusual color combinations, pear-shaped draped skirts, and the lingerie-inspired "brassière dress". Everything was wearable and elegant and the collection was snapped up by buyers.[7][20] Saint Laurent's second collection, for fall 1962, was celebrated as his best to date. It featured India-inspired evening dress in rich, mink-trimmed satin and a mostly dark, rich color palette. Raja coats and pull-over tubular dresses or barrel skirts, and wide-sleeved satin fishermen's smocks, were paired with turbans and dark stockings and elaborate jewellery. Fashion writers ranked the collection with those of Givenchy and Balenciaga; Saint Laurent was now at the pinnacle of Paris couture.[21][22]

In the 1960s, Saint Laurent introduced or contributed to fashion trends such as the beatnik look (1962),[23][24] pea coats (1962),[25] smock tops (1962-63),[26][27] thigh-high boots (1963, via his chosen shoe designer Roger Vivier),[28][29] the Le Smoking women's tuxedo suit (1966),[30][31] platform shoes (1967, courtesy of Roger Vivier),[32] and safari jackets for men and women (1967).[33]

Throughout the 1960s, Saint Laurent followed the international youth culture taking shape, a tendency already evident in his fall 1960 Dior collection. Like designers and others of the period, he kept an eye on the pace-setting streets of London[34] and also on the hippie movement emanating from the US.[35][36][37] He responded to the spare precision of André Courrèges's groundbreaking 1964 and '65 Space Age designs with the now-famous stark, geometric shift dresses of his 1965 Mondrian collection[38] but faltered a bit with the slightly passé Pop Art dresses in his autumn 1966 line.[39]

In September 1966, Saint Laurent presented a full prêt-à-porter (ready-to-wear) line; after Dior's massive success with ready-to-wear in the late 1940s, all fashion houses followed. This line was presented at YSL's first Rive Gauche boutique at 21 rue de Tournon.[40] An early customer was Catherine Deneuve, for whom Saint Laurent later designed costumes in films including Belle de Jour (1967), Heartbeat (1968), and Mississippi Mermaid (1969).[41]

The revolutionary societal movements of the time[42] transformed Saint Laurent's thinking and he began to base his work more on what women were actually wearing than on abstract ideas in his head.[43][44][45] A number of his designs were inspired by women's lives in the sociopolitical climate of the time,[46] particularly the trousers he showed in 1968 after witnessing the epochal French uprisings of that year.[47][48] Saint Laurent is often said to have been the main designer responsible for making women wearing pants more widely acceptable,[49][50][51] after André Courrèges made the first strides in that direction in 1964.[52]

Also more acceptable in the late 1960s was nudity.[53][54] Saint Laurent had initially been appalled at Rudi Gernreich's topless swimsuits of 1964,[55] but in 1966 he showed A-line minidresses of transparent fabric separated by strategically placed horizontal bands of Space Age silver sequins.[56] By 1968, he was showing fully transparent tops[57] as nudity became more common in high fashion and on stage and screen,[58] and sheer blouses would remain a mainstay of his showings for the next ten years, diminishing to only one or two presented in each collection after the vogue for nudity waned by the mid-1970s.[59]

The social transformations of the late 1960s also influenced how Saint Laurent himself dressed, as he wore more relaxed clothes reflecting the era's youth movements and let his hair grow.[60][61] His new personal wardrobe led to him presenting his first men's ready-to-wear collection in 1969.[62]

In September 1968, Saint Laurent opened the first Rive Gauche store in the United States on Madison Avenue in Manhattan.[47] While in New York, he attended the exhibition of his costume sketches for ballet and theatrical productions at the Wright Hepburn Webster Gallery.[63] During this trip Saint Laurent and his entourage were denied entry to Trader Vic's restaurant because the women were wearing pants.[63]

In 1971, he posed for a natural-looking nude photograph as part of the advertising campaign for his Pour Homme men's fragrance.[64]

During the 1970s, Saint Laurent came to be considered the most prominent designer in the world,[65][66][67][68][69] adapting his designs to modern women's needs.[70][71][72][73] Though Karl Lagerfeld[74][75] and Jean Muir[76] occasionally approached him in critical appraisal and popularity, Saint Laurent remained the strongest influence on fashion throughout the decade, an era when the societal advances of the 1960s required designers to defer to the public's demands for practicality and comfort.[77][78] Even in his sometimes lavish Russian peasant collections of the middle of the decade,[79][80][81] the clothes themselves remained comfortable and wearable.[82][83]

His controversial spring 1971 collection was inspired by 1940s fashion. Some felt it romanticized the German occupation of France during World War II, which he did not experience, while others felt it brought back the unattractive utilitarianism of the time.[84] The French newspaper France Soir called the spring 1971 collection "Une grande farce!"[85]

His spring 1971 couture collection marked other changes. Now that the liberatory trends of the 1960s and early '70s had become established, with women released from constricting undergarments and free to wear trousers in all settings and men also free to be more casual in their dress, advances aided in no small part by Saint Laurent, he shed some of the less appealing aspects of the youth culture of that period, particularly after losing a couple of young friends to the drug experimentation of the time.[86] While still exhibiting the pervasive relaxed, casual look, by 1972, he had begun to cut his hair and shave again and discarded the well-worn jeans and shoelessness.[87]

Saint Laurent had nurtured his ready-to-wear to the extent that it now eclipsed the haute couture in prominence.[88][89] In 1971, amidst heavy criticism of his 1940s-themed collection, he threatened to end his couture services entirely.[90] Instead, Saint Laurent and a few others declared in early 1972 that they would now show their couture pieces with their prêt-á-porter,[91] but soon Saint Laurent began to worry publicly that the craftsmanship of the couture might be lost,[92] as well as the livelihoods of those who depended on him,[93] and he decided to carry on holding separate couture presentations.[94]

While the prêt-à-porter line became extremely popular with the public[95][96] and eventually earned many times more for Saint Laurent and Bergé than the haute couture line, Saint Laurent's decision to continue producing haute couture lines resulted in some landmark collections as well during the 1970s, most famously the fall 1976 Russian Peasant collection, which brought the popular peasant silhouette of the time to a peak of exotic luxury,[97] but also his spring 1978 Broadway Suit presentation,[98] which inspired the fashion industry to move toward wide, padded shoulders.[99][100] However, Saint Laurent, whose health had been precarious for years, became erratic under the pressure of designing two haute couture and two prêt-à-porter collections every year.

In 1976, Saint Laurent and Bergé ended their romantic relationship but remained business partners.[101] Saint Laurent increasingly turned to alcohol and drugs.[102] At some shows, he could barely walk down the runway at the end of the show, and he had to be supported by models.[103]

Saint Laurent is credited with initiating in 1978 the prominently shoulder-padded styles that would characterize the 1980s.[104][105] He then relied on a restricted set of looks based largely on big-shouldered jackets and narrow skirts and trousers[106][107] that wouldn't vary much for a decade,[108][109][110][111] resulting in some fashion writers bemoaning the loss of his former inventiveness[112][113][114] and others welcoming the familiarity.[115][116][117] Where in the 1960s and '70s his work had reflected the democratizing trends of the time,[118] during the 1980s his work conformed more to the tastes of the wealthy[119][120][121] as social inequality increased in society.[122][123] His broad-shouldered wardrobe basics now seemed geared more to the ladies-who-lunch set[124] than the liberated, casual young women he had been inspired by in the earlier 1970s, and his work was now often grouped with that of Givenchy,[125][126] Valentino, Oscar de la Renta, and similar designers.[127][128] He was noted in the early 1980s for his short, slim, sleek black leather skirts,[129][130] with versions in metallic gold leather receiving raves from socialites in 1981.[131] After helping bring ready-to-wear to mass acceptance earlier in his career and nearly abandoning haute couture in the early 1970s, during the 1980s, with the nouveaux riches in ascendance and demanding showpieces,[132][133][134] he refocused on his couture lines, to the extent that observers felt that his prêt-á-porter was being neglected.[135] He was one of the last designers to give up big shoulder pads at the end of the eighties.[136][137]

After a show in New York City, which featured US$100,000 jeweled casual jackets only days after the "Black Monday" stock market crash in 1987, he turned over the responsibility of the prêt-à-porter line to his assistants.[138] In 1993, the Yves Saint Laurent business was sold to Sanofi.[139] He became increasingly reclusive, but continued to design the couture collection until he retired 2002.[140][141]

Muses

A favorite among his female clientele, Saint Laurent had a number of muses who inspired his work. Among them were French model Victoire Doutreleau,[142] who opened his first fashion show in 1962;[143] Loulou de la Falaise,[142][144] daughter of a French marquis and an Anglo-Irish model, who later became a jewelry designer for the brand;[145] Betty Catroux,[142][144] the half-Brazilian daughter of an American diplomat, whom Saint Laurent considered his "twin sister";[146] and Italian model Marina Schiano, who later managed YSL boutiques in North America.[142][144]

Other notable muses included French actress Catherine Deneuve;[144][142] French model Danielle Luquet de Saint Germain,[147] and American-French artist Niki de Saint Phalle, both of whom inspired the Le Smoking suit;[148][149][150] and Warhol superstar Donna Jordan, who inspired his spring 1971 collection.[151]

He also worked closely with Mounia,[142][144] a model from Martinique who frequently appeared as the bride in his fashion shows; Kenyan model Khadija Adam Ismail;[152] Lucie de la Falaise,[153][154] a Welsh-French model and niece of Loulou, who served as the bride in his shows from 1990 to 1994; and French model Laetitia Casta,[155] who assumed the same role from 1998 to 2001.[156]

Additional muses included jewelry designer Paloma Picasso;[142][144] Dutch actress Talitha Getty;[157][158] American socialite Nan Kempner,[159][160] who was later named an ambassador for the brand;[161] and French model Nicole Dorier,[162] who became director of his runway shows and later served as the "memory" of the house when it became a museum.

Death

Saint Laurent died on 1 June 2008 of brain cancer at his residence in Paris.[163] According to The New York Times, a few days prior, he and Bergé had been joined in a Civil union known as a Pacte civil de solidarité (PACS) in France.[164] When Saint Laurent was diagnosed as terminal, with only one or two weeks left to live, Bergé and the doctor mutually decided that it would be better for him not to know of his impending death. Bergé said, "I have the belief that Yves would not have been strong enough to accept that."[165]

He was given a Catholic funeral at Église Saint-Roch in Paris.[166] The funeral attendees included the former Empress of Iran Farah Pahlavi, Bernadette Chirac, Catherine Deneuve, and President Nicolas Sarkozy and his wife, Carla Bruni.[167]

His body was cremated, and his ashes were scattered in Marrakesh, Morocco, in the Majorelle Garden, a residence and botanical garden that he owned with Bergé and often visited to find inspiration and refuge.[168] Bergé said at the funeral service (in French): "But I also know that I will never forget what I owe you and that one day I will join you under the Moroccan palms."

Personal life

Saint Laurent met Pierre Bergé at dinner with Marie-Louise Bousquet in 1958.[169][170] They soon became a couple, and together they co-founded the Yves Saint Laurent Couture House in 1961. They remained close friends and business partners after their amicable breakup in 1976.[171]

Chilean heiress Clara Saint became a key figure within Saint Laurent's close social circle in the mid-1960s.[172] She initially formed a friendship with Saint Laurent and Pierre Bergé and, in 1968, became press officer for the Rive Gauche ready-to-wear line.[172] Saint is credited with introducing them to Russian ballet dancer Rudolf Nureyev, her then-boyfriend Thadée Klossowski de Rola, and French designer Paloma Picasso, thereby expanding their social network.[172] She also played a pivotal role in shaping Saint Laurent's personal life, notably suggesting Marrakech as a holiday destination.[172] The trip proved deeply significant for the designer, reconnecting him with the sensory impressions of his childhood in North Africa.[172]

In 1967, Éditions Tchou published a book by Saint Laurent, La Vilaine Lulu (The Villain Lulu), a collection of comic strips featuring a cruelly mischievous little girl named Lulu whom the designer had been sketching since 1956, when he had been inspired by a costume worn by one of Dior's colleagues. The child engages in pranks ranging from abusing hospital patients to defiling André Courrèges's pristine white salon with black paint.[173][174]

While in New York for the opening of the Rive Gauche boutique in 1968, Saint Laurent began a friendship with American Pop artist Andy Warhol.[175][84][176] When Warhol visited him in Marrakech for Easter in 1972, Saint Laurent commissioned a portrait, and Warhol later traveled to Paris to photograph him for the work.[177][178][179] During a visit to New York in November 1972, Saint Laurent saw the portrait and remarked, "The colors are marvelous — orange, red, green, and pink."[180][181] In February 1974, he hosted a party in honor of Warhol to celebrate the artist's solo exhibitions at the Musée Galliera and Galerie Ileana Sonnabend in Paris.[182] Warhol's partner, Jed Johnson, later decorated Bergé's New York pied-à-terre at The Pierre in 1978 and designed the Yves Saint Laurent Enterprises offices in New York in 1979.[183][184]

In 1973, Saint Laurent began a six-month affair with Karl Lagerfeld's companion Jacques de Bascher.[185] Bergé ended their liaison in 1974, accusing de Bascher and Lagerfeld of being responsible for Saint Laurent's mental health issues and his increasing interest in hard drugs and sadomasochism.[186]

Saint Laurent was considered one of Paris's "jet set," moving within an international circle of celebrities and cultural figures. He frequently socialized at prominent nightclubs in France and New York City, including Club Sept, Regine's, Studio 54, and Le Palace, and was known for a lifestyle marked by heavy drinking and regular cocaine use.[187][188][189]

Saint Laurent had a lifelong affection for dogs.[190] "I am, as they say, a 'dog' person," he once remarked.[191] Over the years, he kept a chihuahua named Hazel and a succession of French Bulldogs, each named Moujik, which became enduring fixtures in his life and work.[191]

Homes

The duplex at 55 Rue de Babylone on the Left Bank of Paris, which Saint Laurent and Bergé purchased in 1970, was highlighted in the May 1972 issue of British Vogue.[192] French architect Jean-Michel Frank designed the apartment's interior in the 1920s in the Art Deco style.[192] Saint Laurent hired French interior designer Jacques Grange to decorate the apartment, which featured vases by Jean Dunand, stools by Pierre Legrain, a red lacquer-framed stool by Gustave Miklos, an armchair by Eileen Gray, and sheep chairs by Claude and François-Xavier Lalanne.[193][194] Saint Laurent was so pleased with Grange’s work that he subsequently entrusted him with the decoration of all his homes.[178]

Saint Laurent and Bergé made their first trip to Marrakech in 1966, which marked the start of a lifelong passion for Moroccan culture.[195] Saint Laurent once stated, "Everything was black before Marrakech." "I learned color from this city, and I embraced its light, its bold blends, and its passionate inventions."[195] For several years to come, Saint Laurent and Bergé would return and purchase various properties in Morocco. They acquired Dar Es Saada in 1974,[192] Villa Oasis 45 and Majorelle Garden in 1980,[196] and Villa Mabrouka in 1997.[197][198]

In 1983, Saint Laurent and Bergé bought a neo-gothic villa, Château Gabriel in Benerville-sur-Mer, near Deauville, France.[199] Saint Laurent was a great admirer of Marcel Proust who had been a frequent guest of Gaston Gallimard, one of the previous owners of the villa. He had each bedroom named after the characters in Marcel Proust's À la recherche du temps perdu (Remembrance of Things Past).[200]

Collection

In February 2009, an auction of 733 items from Saint Laurent and Bergé's collection was held by Christie's at the Grand Palais, ranging from paintings by Picasso to ancient Egyptian sculptures. The proceeds went to HIV and AIDS research.[201]

Before the sale commenced, the Chinese government tried to stop the sale of two of twelve bronze statue heads taken from the Old Summer Palace in China during the Second Opium War.[202] A French judge dismissed the claim and the sculptures, heads of a rabbit and a rat, sold for €15,745,000. However, the anonymous buyer revealed himself to be Cai Mingchao, a representative of the PRC's National Treasures Fund, and claimed that he would not pay for them on "moral and patriotic grounds".[203] The heads remained in Bergé's possession until acquired by François Pinault, owner of a number of luxury brands including Yves Saint Laurent.[204] He then donated them to China in a ceremony on 29 June 2013.[205]

On the first day of the sale, Henri Matisse's painting Les coucous, tapis bleu et rose broke the previous world record set in 2007 for a Matisse work and sold for 32 million euros. The record-breaking sale realized 342.5 million euros (£307 million).[206] The subsequent auction, 17–20 November, included 1,185 items from the couple's Normandy villa. While not as impressive as the first auction, it featured the designer's last Mercedes-Benz car and his Hermès luggage.[207]

Accolades and legacy

In 1982, Saint Laurent received the International Fashion Award from the Council of Fashion Designers of America.[208]

In 1983, Saint Laurent became the first living fashion designer to be honored by the Metropolitan Museum of Art with a solo exhibition.[209]

In 1985, Saint Laurent was awarded an Oscar de la mode for his 'contribution to the history of fashion' at The Oscars of Fashion event in Paris.[210]

In 1999, Saint Laurent received the Geoffrey Beene Lifetime Achievement Award at the CFDA Fashion Awards.[211]

In 2001, Saint Laurent was awarded the rank of Commander of the Légion d'Honneur by French President Jacques Chirac.[212]

In 2007, Saint Laurent was awarded the rank of Grand officier de la Légion d'honneur by French President Nicolas Sarkozy.[213][214]

In 2004, Saint Laurent created a foundation with Bergé in Paris to trace the history of the house of YSL, complete with 15,000 objects and 5,000 pieces of clothing.[215]

In 2009, Forbes rated Saint Laurent the top-earning dead celebrity.[216]

In 2010, the street in front of the Majorelle Garden in Marrakesh was renamed the Rue Yves Saint Laurent in his honor.[217]

In 2022, the "Yves Saint Laurent Aux Musées" exhibition was held simultaneously at six Parisian cultural institutions: the Centre Pompidou, the Musée d'Art Moderne de Paris, the Musée du Louvre, the Musée d’Orsay, the Musée National Picasso–Paris, and the Musée Yves Saint Laurent Paris, demonstrating the enduring legacy of his work and his lifelong fascination with art.[218] This exhibition highlighted his connections to various art forms and his ability to blend fashion with artistic expression.[218]

Museums

The Yves Saint Laurent Museum in Paris, housed in the old Fondation Pierre Bergé-Yves Saint Laurent, opened its doors in 2017.[219] Through a continuously updated collection display, the museum chronicles his career.[220] The exhibition space was renovated by stage designer Nathalie Crinière and interior designer Jacques Grange.[220]

The Yves Saint Laurent Museum in Marrakesh, also opened in 2017. Pierre Bergé personally chose the thousands of pieces of apparel and haute couture accessories housed in the 43,000-square-foot structure, which was created by the Paris-based studio Studio KO.[221]

Saint Laurent's childhood home in Oran, Algeria, where he lived until the age of 18, was purchased by the Oran entrepreneur Mohamed Affane. He transformed it into a museum, Résidence Yves Saint Laurent Oran, which opened in 2022.[222] The period furniture was recovered and around 400 sketches by Yves Saint-Laurent are exhibited, along with childhood photos of the designer.[223][224]

Films

  • 2002: David Teboul's Yves Saint Laurent: His Life and Times[225]
  • 2002: Yves Saint Laurent: 5 Avenue Marceau 75116 Paris[226]
  • 2009: Tout Terriblement[227]
  • 2010: Pierre Thoretton's L'Amour fou[228]
  • 2014: Yves Saint Laurent[229] by Pierre Niney
  • 2014: Saint Laurent[230] by Gaspard Ulliel
  • 2019: Yves Saint Laurent: The Last Collections[231]

Television

  • 1965: Appeared on 24 October as a "mystery guest" on the American television game show What's My Line?[232]
  • 2024: Becoming Karl Lagerfeld by Arnaud Valois

References

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  24. 24.Mulvagh, Jane (1988). "1963". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 277. ISBN 978-0-670-80172-5. Saint Laurent's 1960 beat look was belatedly adapted: Samuel Robery showed simple leather shifts, Scaasi presented black alligator trousers, Ellen Brooke used black lacquered alligator for windbreaker jackets, and mock alligator was chosen by Modelia for polo coats and by David Kidd for short coats.
  25. 25."Paris Fashion Copies". Life. Vol. 52, no. 14. 6 April 1962. p. 131. Most Paris originals are first seen at high prices, gradually filter down to low. St. Laurent's famous pea jacket is an exception. He copied it from the humble sailor's coat...
  26. 26.Vreeland, Diana, ed. (15 March 1963). "Paris". Vogue. 141 (6). New York, NY, USA: The Condé Nast Publications: 93. The fisherman's shirt – St. Laurent's established blockbuster – taking over now as a topcoat.
  27. 27.Cassini, Oleg. "Fashion". Collier's 1964 Year Book Covering the Year 1963. The Crowell-Collier Publishing Company. p. 281. By day the country look for the city was typified by St. Lauret's tweed smock worn de rigueur with heavy, textured stockings and walking shoes.
  28. 28.Peterson, Patricia (30 July 1963). "St. Laurent and Chanel Designs New but Familiar". The New York Times: 16. Retrieved 15 March 2024....[B]oots by Roger Vivier wrapped the leg to mid-thigh.
  29. 29.Peake, Andy (2018). "Chapeau Melon et Bottes de Cuir". Made for Walking. Atglen, Pennsylvania: Schiffer Fashion Press. p. 57. ISBN 978-0-7643-5499-1. Yves Saint Laurent's fall...1963...visored caps, black leather jerkins, and Roger Vivier's towering cuissardes [thigh-high boots] in black crocodile...gave what [the Daily Mail's Iris] Ashley called 'a real space girl effect...'
  30. 30."First Tuxedo". Musée Yves Saint Laurent Paris. Retrieved 18 July 2023. In his Autumn-Winter 1966 collection, Yves Saint Laurent introduced his most iconic piece: the tuxedo....[T]he Saint Laurent Rive Gauche version was a success. The label's younger clientele was quick to purchase it, making the tuxedo a classic. Saint Laurent would go on to include it in each of his collections until 2002.
  31. 31.Emerson, Gloria (5 August 1966). "A Nude Dress That Isn't: Saint Laurent in a New, Mad Mood". The New York Times: R53. Retrieved 23 July 2023. Niki de Saint-Phalle, an American artist living in [France], has had the best influence of all on Saint Laurent...Miss Saint-Phalle...always wears trouser suits with...boots....Now Saint Laurent has copied her 'black tie' trouser suit in velvet and in wool....In wool, it has a very ruffly white shirt, a big black bow at the neck, a wide cummerbund of satin, and satin stripes down the rather wide pants. It is worn with...satin boots.
  32. 32.Emerson, Gloria (26 July 1967). "Paris Couturiers Hedge All Bets". The New York Times: 26. The newest Vivier shoe – some will be seen...in Yves Saint Laurent's collection – is called 'le socle.' It only means a thick platform sole. Socle is the French word for pedestal....Even when he designs a boot that covers the leg...there is often the platform sole...
  33. 33."First Safari Jacket". Musée Yves Saint Laurent Paris. Retrieved 18 July 2023. Yves Saint Laurent first introduced the safari jacket in his 1967 runway shows. However, it was a one-off design created for a photo-essay for Vogue (Paris) the following year that made the design famous and quickly turned it into a classic.
  34. 34.Mulvagh, Jane (1988). "1957-1967". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 243. ISBN 978-0-670-80172-5. Saint Laurent frequently visited London during the sixties to find inspiration in the boutiques on King's Road.
  35. 35.Bender, Marylin (9 December 1969). "The Fashion Decade: As Hems Rose, Barriers Fell". The New York Times: 63. It was a decade in which the...rich stole their fads from hippies who rejected materialism.
  36. 36.Vreeland, Diana, ed. (15 November 1968). "Vogue's Own Boutique". Vogue. 152 (9). New York, NY, USA: The Condé Nast Publications: 193. Yves...wandered into Central Park during a New York visit, remained, bemused, enchanted by the hippie scene. Who knows how this may affect the world's fashion scene.
  37. 37.Bender, Marylin (1 February 1968). "A Little Newcomer Joins Cardin's His'n'Her Fashion Line". The New York Times: 32....Yves Saint Laurent has endorsed...the hippie mood...
  38. 38.Giraud, Françoise (12 September 1965). "After Courrèges, What Future for the Haute Couture?". The New York Times: SM50....[I]t was Yves St. Laurent who had the courage to say, 'We all needed Courrèges...He woke us up.'
  39. 39.Emerson, Gloria (5 August 1966). "A Nude Dress That Isn't: Saint Laurent in a New, Mad Mood". The New York Times: R53. Retrieved 23 July 2023....[T]here are moments...when Yves Saint Laurent...strains too hard to convince the world how much he is hand-to-hand and eye-to-eye with the very young....[T]he pop art dresses in Saint Laurent's new fall collection...should have been...saved as a private joke for a few friends...Saint Laurent may have just discovered Roy Lichtenstein and Andy Warhol, but others did quite long ago.
  40. 40.Rawsthorn 1996, p. 86.
  41. 41."Yves Saint-Laurent". IMDb. Retrieved 30 December 2019.
  42. 42."Decoding the Styles of the 70's". The New York Times: SM6. 30 December 1979. Retrieved 10 December 2021. Take the anti‐establishment 60's...: the untamed manes of the flower children, the faded jeans of the affluence‐rejecting hippies, the discarded bras of the women's liberation movement, the knee‐freeing skirts..., and the street‐imitating gear of the radical chic...share...an antifashion attitude that became...powerful and pervasive...
  43. 43.Liber, Nadine (8 October 1971). "Yves St. Laurent, New King of Off-the-Rack Fashion". Life. Vol. 71, no. 15. p. 93. Five years ago [1966], St. Laurent went through what he describes as 'a horrible crisis'...He saw the young generation shaking off old taboos in clothes, in outlook, in behavior, creating a new environment. He desperately wanted to be part of it...'I began to realize that fashion can come from anywhere,' he says. 'Daily life is where a clothes designer belongs today'.
  44. 44.Vreeland, Diana, ed. (1 July 1969). "Yves's Other Eden: Saint Laurent in Marrakech". Vogue. 154 (1). New York, NY, USA: The Condé Nast Publications: 149....Yves Saint Laurent is probably the activist of the French couture – he understands how young people feel, knows how they want to look.
  45. 45.Morris, Bernadine (2 August 1975). "The Paris Couture: Serenely Relevant Most of the Time". The New York Times: 38. Yves Saint Laurent was the first of the couturiers to grasp the change in the attitudes of women...to clothes. First, he picked up inspiration from what people wore on the street, not eschewing denim, poplin and patchwork leather.
  46. 46.Dryansky, G. Y. (1 January 1980). "Saint Laurent All the Way". Vogue. 170 (12). New York, NY, USA: The Conde Nast Publications: 152. He owes his success, the full flowering of his talent, to the street and he knows it. Saint Laurent came to power in fashion during the 'sixties, when the class-compartmentalized and ethnic dialects of dress had begun to merge feverishly....[E]verybody's clothes...were...claiming values, politics...Saint Laurent's eclectic, empirical desire to transform the street's own ideas into something similar, better, touched by genius proved the triumphant form of modernism.
  47. 47.[47.2]Morris, Bernadine (16 September 1968). "Saint Laurent Has a New Name for Madison Avenue – Rive Gauche". The New York Times: 54. Retrieved 23 April 2023. During the student upheavals in Paris in May [1968], [Saint Laurent] saw the girls and boys behind the barricades dressed...in pants...'They looked beautiful...,' he said...'Fashion is not only couture....Events are more important.'...[In] his last Paris couture collection, shown in July,...[p]ants outfits overshadowed more conventional attire.
  48. 48.Morris, Bernadine (15 August 1976). "Fashion: Paris Report". The New York Times. p. 179. Retrieved 4 April 2022. In the late 1960's, [Saint Laurent] watched the student riots in Paris and came up with the pants suit, which everyone is still wearing.
  49. 49.Heathcote, Phyllis W. (1970). "Fashion and Dress". Britannica Book of the Year 1970: Events of 1969. Encyclopaedia Britannica, Inc. p. 341. ISBN 978-0-85229-144-3. Leading Paris couturier Yves St. Laurent, from whose influence the vogue for trousers could be said to have stemmed, continued to promote them in his spring and fall [1969] collections.
  50. 50.Morris, Bernadine (7 October 1968). "Even the Restaurateurs Concede That Pants are Fashionable". The New York Times: 54. Retrieved 13 July 2023. Pants...have the endorsement of...Yves Saint Laurent, who devoted a good part of his last Paris collection to them and now is selling them like blue jeans...The wider cut to the legs has won many adherents.
  51. 51.Morris, Bernadine (10 March 1970). "Saint Laurent's American Sportswear". The New York Times: 46. Saint Laurent...helped put women all over the world in pants.
  52. 52.Peterson, Patricia (7 August 1964). "This is the Look from the French Couture for Fall, '64". The New York Times: 32. Paris has finally approved of the pants suit, first started by Andre Courrèges in his spring collection....
  53. 53.Vreeland, Diana, ed. (15 March 1968). "Two Girls in Paris: The Twig and the Tree". Vogue. 151 (6). New York, NY, USA: The Condé Nast Publications: 69....the new feeling for transparency that's sweeping Paris.
  54. 54.Howell, Georgina (1978). "1969". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue. Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 300. ISBN 0-14-00-4955-X. Complete nudity is now permitted on the stage, and incomplete nudity in fashion.
  55. 55.Emerson, Gloria (2 July 1964). "Topless Styles Baffling to Many Frenchwomen". The New York Times: 38. Yves St. Laurent is horrified [at topless bathing suits]...
  56. 56.Howell, Georgina (1978). "1966". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue. Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 292. ISBN 0-14-00-4955-X. Saint Laurent makes his shifts...transparent except where they are striped or chevroned with silver sequins.
  57. 57.Vreeland, Diana, ed. (15 March 1968). "Two Girls in Paris: The Twig and the Tree". Vogue. 151 (6). New York, NY, USA: The Condé Nast Publications: 66. Saint Laurent: transparent chiffon with the short smoking...transparent black chiffon that shows the...bosom....Pants cropped above the knee, the jacket...beautifully tailored..., in lightweight black worsted.
  58. 58.Howell, Georgina (1978). "1967-68". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue. Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 299. ISBN 0-14-00-4955-X. Saint Laurent's shock piece: sheer black chiffon with ostrich hips, a gold serpent wound round the waist.
  59. 59.Mulvagh, Jane (1988). "1973". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. pp. 330, 331. ISBN 0-670-80172-0. Saint Laurent's wool and chenille velvet cardigan bedecked with ostrich feathers, wool crêpe skirt, 'see-thru' mousseline-de-soie blouse...
  60. 60.Morris, Bernadine (16 September 1968). "Saint Laurent Has a New Name for Madison Avenue – Rive Gauche". The New York Times: 54. Retrieved 23 April 2023....[Yves Saint Laurent] mused on the changes in fashion since he went to work for Christian Dior...'That was the time when everybody wanted to look very rich,' he said. 'Now [1968] I think it is the contrary....'
  61. 61.Morris, Bernadine (6 February 1971). "The Romans Didn't Waste Any Time About Shorts". The New York Times: 18. Retrieved 4 April 2022. Until 10 years ago [1961], street clothes were very formal. Now that's all changed.
  62. 62.Vreeland, Diana, ed. (1 July 1969). "Yves's Other Eden: Saint Laurent in Marrakech". Vogue. 154 (1). New York, NY, USA: The Condé Nast Publications: 149. Now, Yves has designed his first, small collection of ready-to-wear clothes for men...
  63. 63.[63.2]Graham, Rubye (22 September 1968). "Headwaiters bar Yves and his pants". The Philadelphia Inquirer. p. 10. Retrieved 27 September 2025.
  64. 64.Bumpus, Jessica (26 May 2010). "YSL the Model". British Vogue. Retrieved 15 August 2025. A photograph of a nude Yves Saint Laurent...was used for the first YSL eau de toilette for men, Pour Homme, advertising campaign in 1971.
  65. 65."Paris Report: Last Winter's Wardrobe Need Not Go to Thrift Shop – Yet". The New York Times: 34. 24 April 1971. Retrieved 24 August 2024. The presence of one designer — Yves Saint Laurent — overshadows the collections.
  66. 66."Yves Saint Laurent: He's Still Flirting with the Midi Length". The New York Times: 47. 23 April 1971. Retrieved 24 August 2024....[H]is work...has been reflected in almost every showing of ready‐to‐wear designers...[O]ther designers have been borrowing liberally from him.
  67. 67.Morris, Bernadine (26 July 1974). "Courreges's Fun Belies Uncertainty of Couture". The New York Times: 38....[W]hen Saint Laurent gets behind a style, the world generally follows.
  68. 68.Hyde, Nina S. (21 September 1978). "Saint Laurent: On the Scent of a New 'Seduction'". The Washington Post. Retrieved 18 March 2022. He is the most influential fashion designer in the world...
  69. 69.Burgess, Anthony (11 September 1977). "All About Yves". The New York Times: 237....Yves Saint Laurent...is now universally acknowledged roi de la mode [king of fashion].
  70. 70.Russell, Mary (1 November 1972). "Saint Laurent Talks About Women, Fashion, Beauty". Vogue. 160 (8). New York, NY, USA: The Condé Nast Publications: 123....Yves Saint Laurent always knows exactly what we want at exactly the right time...
  71. 71.Morris, Bernadine (29 January 1976). "Saint Laurent: The Theme is Mannish". The New York Times: 52....Yves Saint Laurent...simply tunes into the mood of the times and reflects it in uncomplicated clothes.
  72. 72.Morris, Bernadine (10 April 1975). "Saint Laurent: A Classic Mood, A Comfortable Look". The New York Times: 45. Retrieved 26 August 2024. Yves Saint Laurent['s]...clothes...are nice, clean, casual clothes to keep a woman looking calm and controlled as she moves through the anxieties of modern living.
  73. 73.Morris, Bernadine (12 April 1978). "Saint Laurent: The Clothes are the Message". The New York Times. p. C14. Retrieved 1 December 2021. The reason why he is the most copied designer in the world is because he looks at the way people live and the way they dress and then tries to make them look a little better.
  74. 74.Morris, Bernadine (9 May 1975). "Fashion Talk". The New York Times: 41. Retrieved 6 March 2022....[I]t has been interesting to notice Karl Lagerfeld replacing Yves Saint Laurent as the favorite mentor of some American designers.
  75. 75.Morris, Bernadine (28 October 1977). "Exuberance Ruled French Fashion Week". The New York Times: A18. Retrieved 27 March 2022. The most‐applauded collections...were those of the giants, Karl Lagerfeld for Chloe and Yves Saint Laurent.
  76. 76.Mulvagh, Jane (1988). "1968-1975". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 299. ISBN 978-0-670-80172-5. An American survey in 1975...reported that [Jean] Muir and Saint Laurent were the most widely copied designers in the world.
  77. 77.Embree, Alice (2021). "Raising Our Voices: 1973-1979". Voice Lessons. Austin, TX, USA: Briscoe Center for American History, The University of Texas at Austin. p. 174. ISBN 978-0-9997318-6-4. In 1970, the women's movement began to take dress down an increasingly informal path. T-shirts, blue jeans, cutoffs, hiking boots, hair flowing freely...Women disposed of bras and freed their breasts under T-shirts or blue work shirts....Relaxed informality settled into the mainstream. In the '70s, political statements moved from buttons to...T-shirts.
  78. 78.Morris, Bernadine (1 January 1974). "As Styles Move into History, A Pattern of Society Emerges". The New York Times. p. 10. Retrieved 26 August 2024. Keeping up with fashion is being put down by busy, productive women who claim (a) they have no time for it, (b) it's a frivolous occupation, and (c) fashion is a conspiracy on the part of designers to persuade feather-headed women to keep pouring out money for clothes they do not really need but are made to feel they want.
  79. 79.Peake, Andy (2018). "The New Ease in Fashion". Made for Walking. Atglen, Pennsylvania: Schiffer Fashion Press. p. 113. ISBN 978-0-7643-5499-1....[I]n 1974,...Saint Laurent created a Russian-themed collection....Saint Laurent's collection featured full skirts that fell below the knees, thick sweaters, capes, quilted gold jackets, velvet and satin knickerbockers, long fur coats and matching fur hats, and a new, and very distinctive, style of knee-length fashion boot...loose-fitting...
  80. 80.Morris, Bernadine (7 April 1976). "Saint Laurent Was Hailed and Adored; For Kenzo, Tumult and Frenzy". The New York Times. p. 47. Retrieved 18 February 2022. Next fall's peasants, according to Saint Laurent, will wear boots and babushkas...
  81. 81.Freund, Andreas (8 August 1976). "The Empire of Saint Laurent". The New York Times. p. 87. Retrieved 18 February 2022. The noise about Saint Laurent's big silhouette and folkloric look served to enhance his reputation...
  82. 82.Morris, Bernadine (2 January 1977). "This Year, Fashion Casts Its Vote for Freedom". The New York Times: 48....Saint Laurent's peasant look...did not attempt to constrict the body.
  83. 83.Morris, Bernadine (7 August 1976). "Styles Through History: The Roots of the New New Look". The New York Times: 38....Yves Saint Laurent's glorified peasant collection...bouffant skirts, small waistlines and...luxury, paradoxically within a peasant silhouette....Though...there are corselet belts at the waistline, nothing is cinched in tightly.
  84. 84.[84.2]Christy, Marian (5 March 1971). "Paris in Trouble: Fashion Admits to a Defeat". Philadelphia Daily News. p. 20. Retrieved 27 September 2025.
  85. 85.Rawsthorn 1996, p. 112.
  86. 86.Russell, Mary (1 November 1972). "Saint Laurent Talks About Women, Fashion, Beauty". Vogue. 160 (8). New York, NY, USA: The Condé Nast Publications: 123–124. Two of his great friends of the 'sixties died last year. Barely thirty, both represented the psychedelic breakaway of the 'sixties; both died tragically proving the breakaway in itself was not an answer.
  87. 87.Russell, Mary (1 November 1972). "Saint Laurent Talks About Women, Fashion, Beauty". Vogue. 160 (8). New York, NY, USA: The Condé Nast Publications: 123–124. Yves'[s] life-style is also in direct opposition to that of a few years back....Gone are the jeans and bare feet. Yves wears carefully pressed gabardine trousers, an immaculate shirt, a beige cashmere cardigan over his shoulders. Gone the long hair and beard.
  88. 88.Mulvagh, Jane (1988). "1968-1975". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. p. 303. ISBN 978-0-670-80172-5. Saint Laurent was the most successful and influential to combine the art of the couture with the economic realities of the prêt-à-porter....By the mid-seventies he had settled into the role of supreme ready-to-wear designer.
  89. 89.McEvoy, Marian (22 January 1978). "Preview: Paris". The New York Times: SM12....[E]veryone knows that lengths, shapes and colors are determined by ready-to-wear collections and by what young, clever women are wearing on the streets of Manhattan, Milan, London and Paris....Yves Saint Laurent is one designer whose couture does have mass-level repercussions, even though it usually follows the lead of his ready-to-wear...
  90. 90.Liber, Nadine (8 October 1971). "Yves St. Laurent, New King of Off-the-Rack Fashion". Life. Vol. 71, no. 15. p. 93. Yves St. Laurent stunned the fashion world this summer with the announcement that he was abandoning the haute couture of Paris....St. Laurent will continue to design clothes for a few private clients.
  91. 91.Morris, Bernadine (28 January 1972). "Couture Alive, Pulse Fading". The New York Times: 68....Pierre Cardin and Yves Saint Laurent... decided to boycott the traditional January couture shows. They agreed to present their collections in April, when the ready‐to‐wear houses show their lines.
  92. 92.Russell, Mary (1 November 1972). "Saint Laurent Talks About Women, Fashion, Beauty". Vogue. 160 (8). New York, NY, USA: The Condé Nast Publications: 123–124. 'I feel a new appreciation for the almost lost art of the artisan, the ones who could not exist without the Couture – the artisans must not be lost'.
  93. 93.Rose, Barbara (1 October 1978). "The Intimate Yves". Vogue. 168 (10). New York, NY, USA: The Conde Nast Publications: 404. 'At one point, I was very tempted to design for mass manufacture, to quit the couture, but it was too late. I had too much responsibility to the people who had helped me establish my maison. I couldn't abandon them'.
  94. 94.Morris, Bernadine (29 July 1972). "Cardin, At Least, Said Something New". The New York Times: 16. Three concerns tried to throw in their lot with ready-to‐wear, but Robert Ricci, Pierre Cardin and Yves Saint Laurent reneged. When it came couture time, they ran up a few more styles and held couture shows.
  95. 95.Russell, Mary (5 March 1978). "What They're Wearing in Paris, Milan, Tokyo". The New York Times: AS11. Retrieved 7 April 2024. Paris: On the Right Bank, Saint Laurent can be seen in all his glory, worn by women of every age and nationality...
  96. 96.Morris, Bernadine (1 February 1978). "Night and Day, Fashion is the Thing". The New York Times: C14. [Fashion socialites] go to the fashion showings during the day and parties for the designers at night....Their favorites are Yves Saint Laurent, whose clothes they wear most often, Christian Dior and Givenchy....Saint Laurent...remains everybody's favorite....'He's simply the greatest,' said [Sao] Schlumberger. 'He goes with the times without being outrageous'.
  97. 97.Mulvagh, Jane (1988). "1976". Vogue History of 20th Century Fashion. London, England: Viking, the Penguin Group. pp. 353, 354. ISBN 978-0-670-80172-5. This was Saint Laurent's annus mirabilis. In a feast of theatrics and colour he showed his first famous Carmen dresses....Saint Laurent's autumn collection burst forth with romantic fantasy. For the day, he showed a collarless, slightly square jacket with Tyrolean fastenings, either plain or with a subtle stripe, worn over a dirndl skirt and Russian blouse, lying flat on the collarbone and simply tied. A dramatic shawl, Russian-style fur-trimmed hat and a hooded, velvet cape completed the look. Trousers were very narrow, and everything was worn with Cossack-style, baggy boots.
  98. 98."1978 Broadway Suit Collection". Musée Yves Saint Laurent Paris. 'YSL's...mannequin...got ovations every time she sauntered out on the runway in another version of the spencer jacket'.
  99. 99.McEvoy, Marion (12 November 1978). "Where the Pads Come From". The New York Times: 240. Retrieved 21 November 2021. Yves Saint Laurent's man‐tailored suit, introduced in January 1978, put emphasis on bigger, built-out shoulders. American designers simultaneously backed the built‐up look and started adding shoulder apparatus of their own.
  100. 100."Sainr Laurent Show Not Quite a Knockout". Dallas Morning News: 4C. 13 April 1978. Other designers stole Yves's square shoulders from his January high fashion show and came out with an exaggerated 1940s look in the April collections...
  101. 101.Cole, Shaun (2002). "Saint Laurent, Yves". glbtq.com. Archived from the original on 14 August 2007. Retrieved 25 August 2007.
  102. 102.Horyn, Cathy (24 December 2000). "Yves of Destruction". The New York Times. ISSN 0362-4331. Retrieved 11 June 2021.
  103. 103."'Saint Laurent': Another view of the great fashion designer". The Seattle Times. 11 June 2015. Retrieved 11 June 2021.
  104. 104.Donovan, Carrie (12 November 1978). "Why the Big Change Now". The New York Times. p. 226. Retrieved 18 November 2021. What Saint Laurent sprang on the fashion world last January when he introduced man‐tailored suit jackets with shoulders squared out with padding...has now become staple fashion in Italy, France and America.
  105. 105.Larkin, Kathy. "Fashion". 1979 Collier's Yearbook Covering the Year 1978. Crown-Collier Publishing Company. pp. 251–252....Saint Laurent...confirmed huge shoulders, puffed sleeves to emphasize width further...
  106. 106.Morris, Bernadine (30 August 1981). "The Ultimate Luxury". The New York Times. p. 206. Retrieved 6 March 2022. Saint Laurent emphasized suits that were squared at the top and tapering to the hem, like a triangle standing on its point.
  107. 107.Donovan, Carrie (31 March 1985). "Fashion: Feminine Flourishes". The New York Times. p. 80. Retrieved 9 March 2022. Karl Lagerfeld..., Yves Saint Laurent, Emanuel Ungaro and Hubert de Givenchy...continued with their versions of the rather aggressive broad-shouldered silhouette...
  108. 108.Hyde, Nina S. (21 September 1978). "Saint Laurent: On the Scent of a New 'Seduction'". The Washington Post. Retrieved 3 December 2021. His classics,...he says, 'are the modern things and they are for the future. They are now as good as they can be....The basic things have been made. Now we can stop'.
  109. 109.Russell, Mary (8 April 1979). "Fashion/Beauty Fallout from Paris". The New York Times. p. SM19. Retrieved 3 March 2022. Yves Saint Laurent has retreated into an autocritical contemplation of his years as the established 'No. 1' of Paris fashion. These days, he is creating refined and rethought versions of his legendary look.
  110. 110.Donovan, Carrie (6 May 1979). "American Designers Come of Age". The New York Times. p. 254. Retrieved 4 April 2022....Saint Laurent may have reached the point where he feels that he has made his basic contribution to fashion and that now, like Chanel who kept on and on with her famous suit — he wants to reinforce his legend.
  111. 111.Hyde, Nina (6 December 1983). "YSL". The Washington Post. Retrieved 7 March 2022. Saint Laurent says the day of big fashion changes is over. What he cares about is refining the classic, the basics, perfecting what he has already put into the fashion vernacular.
  112. 112.Brobston, Tracy (11 April 1984). "Fashion Front: Paris – Yves Saint Laurent". The Dallas Morning News: 8. He remounted about three quarters of...his career...on the runway at his fall '84 show. If you're looking for something new, you'll have to go elsewhere...The only ideas here are old ones, though that doesn't necessarily mean they aren't any good.
  113. 113.Cunningham, Bill (1 March 1986). "Bright Spring Fashion Takes a Brave New Direction". Details. Vol. IV, no. 8. New York, NY: Details Publishing Corp. p. 90. ISSN 0740-4921. Yves Saint Laurent, the acknowledged king of the status quo in Europe, may have been a revolutionary in his early days...Now, however, St. Laurent has imposed a paralyzing primness...that suggests a retreat to the philistine cathedral of acceptable good taste.
  114. 114.Cunningham, Bill (1 March 1988). "Fashionating Rhythm". Details. Vol. VI, no. 8. New York, NY: Details Publishing Corp. p. 121. ISSN 0740-4921. The saddest moment of the spring ready-to-wear collections was the hackneyed offering of Yves Saint Laurent. What a pathetic decline for the former king of world fashion, who dominated design for...twenty years. One couldn't believe that the same man was responsible for what was paraded before the buyers and press. The loss of Saint Laurent's legendary color mixing, the rehash of decade-old designs, the afterthought accessories, left the audience confounded. One wanted to believe that Saint Laurent was not involved....[H]e appeared to have lost a very rare gift – his creative talent.
  115. 115.Hyde, Nina S. (2 April 1980). "The Phases of Yves". The Washington Post. Retrieved 6 March 2022. When did he first do the Mondrian styles? When was the first smoking jacket? How about the first tiered challis printed baby dress, the first cowboy styles, the first ruffled peasant styles? If you didn't remember exactly, it didn't matter, since the current versions, while new, look familiar enough to be the original versions.
  116. 116.Hyde, Nina (27 October 1988). "YSL, At the Ready". The Washington Post. Retrieved 1 March 2022....Saint Laurent revived things from past collections to assure his customers that they can keep on wearing his styles no matter what the year.
  117. 117.Finley, Ruth, ed. (1 December 1989). "Paris Designer Focus". Fashion International. XVIII (3/4). New York, NY, USA: 5. Yves Saint Laurent shows his signature timeless classics in new and original versions...
  118. 118.Ehrenreich, Barbara and John (2020). "Death of a Yuppie Dream". Had I Known. Twelve. pp. 293–295. ISBN 978-1-4555-4367-0. Retrieved 1 May 2022. In the 1960s,...materialism was briefly out of style.
  119. 119.Cunningham, Bill (1 March 1987). "The Collections Spring Forward". Details. V (8). New York, NY: Details Publishing Corp.: 103. ISSN 0740-4921....[H]istorical...revivals...celebrated Proustian opulence for the new rich of the Eighties.
  120. 120.Morris, Bernadine (4 August 1981). "Couture: Styles of Splendor". The New York Times: C6. Retrieved 1 December 2021. There is no attempt to mimic street fashions, which the couture tried during the miniskirt years. There isn't too much concern with practicality. If the bouffant skirts with their layers of petticoats can't fit into a compact car, it is understood that their wearers travel by limousine. If the jeweled dresses require a lady's maid and a bodyguard, it is assumed that they are available....Givenchy calls his dresses Proustian...
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