“Fashions come and go, style is eternal”, It was one of the maxims of the French couturier Yves Saint Laurentdefender of transparencies as a weapon to empower women. That vision, which was a constant in his forty-year career, is now revived in an exhibition at his brand’s museum in Paris.
Since the birth of the house of haute couture In 1962, Yves Saint Laurent always had a fascination with chiffon, lace and tulle, as demonstrated by the recurring presence of these materials in his collections.
‘Transparencies’, the exhibition that opens its doors to the public tomorrow at the Yves Saint Laurent Museum, rescues that enchantment “risky” with the fabrics, but “respectful of women”, said today the director of that institution, Elsa Janssen, in a presentation to the press.
The personality and talent of this fashion designer come together in five sections: ‘Entry into subjects’, ‘Openwork Transparencies’, ‘Blurred Transparencies’, ‘Structural Transparencies’ and ‘LThe bride will not be transparent.
In all of them he addresses the paradox of transparency which, in itself, is incompatible with the very function of clothing, designed to cover the body, hide it or protect it.
Among the forty pieces on display, one of the most notable, according to Janssen, is ‘Robe du soir’ (evening dress) from the fall-winter 1968 haute couture collection, worn by model Danielle Luquet.
There are also more unusual ones from the Saint Laurent ‘Rive Gauche’ collection, the iconic Bermuda tuxedo and a whole range of dresses of different colors, cuts and textures.
The dream world and sensuality that Yves Saint Laurent pursued with transparencies reveal different parts of the body, sometimes the chest, other times the belly, shoulders or even the hips.
The influence of the visual arts
The garments on display, which were part of fashion shows in the 20th and 21st centuries, reveal another of their creator’s influences: the visual arts.
Proof of this are the designer’s own mentions of Goya or Picasso, as well as the presence of works by other artists in the exhibition.
Paintings by Anne Bourse in which fantasy and fluidity with bright colors predominate, photographs by Man Ray, associated with Dadaism and surrealism, film number 675 by the Lumière brothers and a painting by Francis Picabia dialogue with clothing.
The concept of contrast, which rather than confronting, complements the ideology of Yves Saint Laurentis possible thanks to the participation of the artistic advisor Anne Dressen and the architect in charge of the scenography, Pauline Marchetti, who agree that transparency is an “intellectual and sensitive challenge.”
Even beyond that idea, Dressen argues that this exhibition invites “rethinking nudity and the freedom to cover oneself or not” Women’s.
This exhibition arises as a second chapter of another similar one last summer at the International City of Lace and Fashion in Calais, which, as Janssen indicated, received a “great welcome” with which “the influx doubled.”
Source: Gestion
Bruce is a talented author and journalist with a passion for entertainment . He currently works as a writer at the 247 News Agency, where he has established himself as a respected voice in the industry.
