Here, Bergé, speaking from a wheelchair in Paris this week, defined each remaining element of his mission to preserve the Yves Saint Laurent legacy alive. Two museums, in Marrakesh and Paris, will open in October 2017, with Bergé, 86, controlling the background of his late-life and commercial enterprise associate – the designer who changed the face of favor within the 2nd half of the 20th century.
In his familiar pugnacious fashion, Bergé laid out the plans to show what he believes the YSL records stand for – his challenge given that Saint Laurent withdrew from geared up-to-wear style within the new millennium and died in 2008, aged 71. The Foundation Pierre Bergé-Yves Saint Laurent has delivered an archive of five 000 clothes, 15,000 accessories, and manifold sketches by the past due to the dressmaker reworking recollections into a large, visible library of the past century.
The complete vision was offered in a meeting at the Institut Français de Los Angeles Mode (IFM, or French Institute of Fashion), based through Bergé. The line-up featured his current associate – the panorama clothier Madison Cox – and the various people worried within the museums. They consist of Olivier Flaviano – director of the future Musée Yves Saint Laurent in Paris; Björn Dahlström – director of Marrakesh Museum’s Destiny; and different conservators and designers working on the twin tasks.
The funding in people and finance to preserve Saint Laurent’s legacy evolved from the early days. At the same time, Bergé gathered the dressmaker’s original drawings and received peace in 1980. He and Yves sold the Jardin Majorelle in Morocco, an artist’s domestic that was then a hazard for developers.
“An incredible case of love at the beginning sight,” said Bergé of the Marrakesh revel. He is financing the dual initiatives, even though he expressed gratitude to François-Henri Pinault – CEO of the King Luxurious group, the brand’s modern owner – for a little monetary help for the two venues.
At the IFM presentation, the YSL history crew set out the unique plans. The Marrakesh web page may be a cultural center: a low upward push building with a lattice-fashion façade to residence everlasting and temporary exhibition areas, a trendy garage, an auditorium for movie screenings and concert events, an e-book store, a café, and an in-depth library funded using Bergé.
In Paris, Yves Saint Laurent’s home on Avenue Marceau is remodeled so that specific rooms will deliver to existence precise clothes and display the studio wherein the designer and his group, such as his muse Loulou de Los Angeles Falaise, worked. At some stage in Paris Fashion Week, the Paris museum opens on three October. The Marrakesh Museum, conceived using French structure company Studio KO and masking 4,000 rectangular meters, begins on 19 October.
The minutiae of those double presentations of Saint Laurent as an artist in garb are admirable. The plans show amazing detail, with Bergé and Flaviano explaining how one place can be dedicated to a single display. From drawing to couture advent, the subject is modified every year. The first exhibition in Marrakesh could be called “The Morocco of Jacques Majorelle,” together with artwork by the French expatriate artist, the son of Art Nouveau furniture dressmaker Louis Majorelle.
The Paris museum is converted from its original role as a couture residence via interior design guru Jacques Grange and level clothier Nathalie Crinière. The handiest problem with this forensic study of the exquisite style artist who became Yves Saint Laurent is that there appears little to try to position the fashion designer in the context of the fashion of his time. The YSL legacy is superb, but it seems proven in a vacuum where some other designers or style movements are absent.
