YVES SAINT LAURENT
France, 2013, 105 minutes, Colour.
Pierre Niney, Guillaume Galliene, Charlotte Le Bon, Laura Smet.
Directed by Jalil Lespert.
Yves Saint Laurent was one of the best-known names in the world of fashion in the latter part of the 20th century, working in the industry from 1957, dying in 2008.
He is gaining quite some cinema interest because there was a documentary film made about him, L’ Amour Fou, something of a tribute from his partner, Peter Berge, but highlighting the main features of his life and career. Along with the present film under review, there is another film of the same name with Gaspar Ulliel in the title role.
This biopic is interesting when it gives some background to Saint Laurent’s background, his growing up in Algeria, his roots both in Algeria and in France, his work in Paris, especially becoming assistant to the then celebrated Christian Dior. Though young, he was inventive in his imagination, his visualising of shapes and designs, his inspiration in the geometry of designing dresses, his use of colour, and his talent for creativity.
At first, he seems a rather shy young man, nevertheless eager to succeed in his chosen career. The film reveals his crisis about being drafted for serving in the French military in the early 1960s in the Algerian war. At first reluctant, he was interviewed by the press and criticised. He decided to register but was soon found to have tendencies towards depression and was temporarily placed in an institution. He was fired by the boss of the company – but, with the help of an astute lawyer, and a pay out, he was able to found his own house of design. And he continued with this over the decades.
For those who are interested in and enjoy fashion, a great deal of attention is given in the film to the various shows, especially the bright shapes in the mid-1960s, the darker images of the early 1970s, the influence of Russia in the mid-1970s.
The film shows his meeting with Peter Berge, their long-term relationship, and Peter Berge’s custody of the Saint Laurent’s heritage, his fashion work as well as their large collection of artwork.
But, for a lot of the film, the audience becomes something of a voyeur audience, with a touch of the Peeping Tom, in being drawn into the designer’s private life, his sexual activities, his seeming recklessness, his infatuations and betrayals, his moods and eccentricities. He was not always a very nice person. We are offered a lot of information, visualised, that we probably did not need to know.
Which means that for those interested in the designer’s career, it is better to recommend the documentary rather than this more prurient look into his life.
1. The impact of Yves Saint Laurent in the 20th century? An icon in himself? In his fashion design? For 50 years?
2. Audience knowledge of him as a person? This film offering, perhaps, too much about him? His actual talent – but, the addictions of his life?
3. The world of fashion, Dior and the 1950s? Yves Saint Laurent as an assistant to Dior? His emergence in the 1960s, his own fashion house? 1965 and the Mondrian design? 1971 and the dark clothes? 1976 and the Russian design? The film as an opportunity for audiences to learn about and appreciate fashion? The fashion world and all that it entails, creativity, design, dressmaking, models and shows? The business side?
4. Yves Saint Laurent and his origins, his family, in Oman, the experience of Algeria, Paris? The war in Algeria, the family leaving? Yves and his settling in Marrakesh?
5. The introduction to Dior, Karl Lagerfeld, Pierre Berge, the titles and the transition to Berge’s memoir, the auction, the collection? The voice-over?
6. Yves, 1957, an awkward young man, shy, in his family, relationship with his parents, his sister? His talent? Advising Dior on narrowing the dress? Work obsessed? His success? His relationship with the models, with Victoire, socially, suggesting they marry? His homosexuality? His working with the team? Meeting Pierre and the artist, his portrait? The bond with Pierre? The issue of his military service, his own attitude, the media, his boss, his agreeing to go, in the institution, manic-depressive? His being fired, the lawyer taking up the case, winning, the cash benefits? Setting up his own house of fashion, his exhibitions, the shop? Pierre as his manager, diligent? The range of collections? His searching for inspiration and design?
7. The issue of homosexuality, the initial glances, eyes, looks? The relationship with women? With men? Meeting Pierre, the bond with him, living with him, going to the clubs, in the street soliciting and his being taken by the police? In Morocco, the liaisons? The up-and down relationship with Pierre? The meeting with Jacques, the infatuation, in love? Yet Pierre as the love of his life? The camp atmosphere of much of the film?
8. The change in his behaviour, going out, socialising, the range of friends, the taking of cocaine, the addiction? The stay in Morocco, meeting Loulou? The highs with the drugs? His continuing with them, Pierre’s exasperation? The addiction, the decadence in his life?
9. Victoire, relationship with her, marrying Roger, her work is a model, the incident with Pierre, her disgust with him for telling Yves, leaving?
10. The range of models, Betty, Loulou? The staff, Pierre and his moods? Yvonne and her patience? The interactions? The bitchiness?
11. The house in Morocco, the good times, Pierre managing, the lifestyle in Morocco? The relationship with Jacques, Pierre moving him out? Jacques always keeping it a secret?
12. A period of 20 years, the change in personality and style, from 20 to 40? The range of his success? The style of his life? The aftermath and his giving up drugs in 1990?
13. The world of fashion, design, the workers, dressing the models, the catwalk, the clients, the media, the interviews? The film immersing its audience in this world?
