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July 30 2014

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5 posts tagged "Loulou de la Falaise"

The Unapproved YSL Film Trailer Has Hit YouTube, and It’s Spicy

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Remember that other Yves Saint Laurent biopic that was announced last year? The one that didn’t get Pierre Bergé’s seal of approval? Well, the trailer for the film, which stars Gaspard Ulliel as the designer and Léa Seydoux as Loulou de la Falaise, hit YouTube today. And, featuring one minute and 50 seconds of sex, snakes, and cigarettes, it’s decidedly racy. In all seriousness, the latest movie explores the darker side of Saint Laurent’s life and relationships, which is likely why it didn’t get the thumbs-up from Bergé. But the approved flick, titled Yves Saint Laurent, didn’t really get the thumbs-up from critics and received mixed reviews. Somewhat ironically, the unapproved film, like the modern-day incarnation of the fashion house, is simply called Saint Laurent. Watch the trailer, above.

Q&A: Lanvin’s Elie Top Is Launching High Jewelry, Was Bottle-Fed Chanel

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Elie TopElie Top, the fashion jewelry designer behind Lanvin’s remarkable baubles, announced today that he would launch a line of precious and semi-precious jewelry during the Couture shows in January. In an exclusive interview, Top spoke with Style.com about his lifelong influences, his friendships with Alber Elbaz and Loulou de la Falaise, and how he intends to handle high fashion as he ventures into the ever-expanding “haute jo” [high jewelry] category.

Finally! What convinced you to take the leap?
I’ve always had the idea of doing my own jewelry, but it was really about meeting the right people at the right time, ¬plus I’m not sure I was creatively mature enough before. And then there came a time to decide, and that’s when I met all the right people at the right time. They all complement each other. It was a good match. I’m really happy about it.

How do you envision your own brand?
I consider it sort of haute fantasy jewelry based on my experience in
costume jewelry. I want to take advantage of all the sophisticated techniques and possibilities high jewelry offers. For me, it’s a natural extension of my aesthetic and my taste for couture and costume jewelry, recast through the prism of high jewelry. I’m very French, so it will be a French brand, entirely. We’ll have a little salon where I can receive clients and design exclusive pieces. I’m obsessed with doing things myself from beginning to end. The point is to remain exclusive without being elitist.

Who do you look to from the past to define that style?
There are my basic-basics: I was practically bottle-fed on Chanel and Yves Saint Laurent, who are the foundation of fashion jewelry in the noblest sense. There are so many things I love: Art Deco, Despres, Fouquet; then Boivin and Belperron are always hovering in the background.

But a lot is about what I feel like now and the season, because I live in the world of fashion. It could be Belle Époque garlands one minute, or something very Baroque the next. And it’s not just jewelry—earlier this year I saw Einstein on the Beach in Paris and it was phenomenal, just extraordinary. But architecture, especially Art Deco, has always been important to me. I am always torn between that and things I loved as a child.

Which were?
Versailles, Vaux le Vicomte, Venice, Rome, and churches in general. From a young age I was crazy for Baroque. I would spend hours drawing my own meticulously detailed churches and castles that were a total mash-up of Italian Baroque and French classicism. My parents were kind of post-68 hippies—they had no idea what to do with that. Later I discovered the more radical, pure modern art of the inter-war period, which influenced me in terms of line and is much more mechanical, industrial, and constructed. So my aesthetic centers on two contradictory codes. It’s like a morganatic marriage between fantasy and nobility. At some point, much later, it dawned on me that I’m still doing what I was doing when I was 8 years old. Right now I’m calling it futuristico-Baroque. It’s an improbable fusion of two worlds.

What’s the storyline for your first collection?
There are many stories that compose the same story, about twenty pieces in all. I’m not obsessed by the value of the stone itself; for me, it’s more about design, conception, volumes, etc. If the stone is very important, that’s great, but I hope the value will be in the work itself. I’m totally not interested in doing just a diamond necklace. I love the
possibilities of mixing things up.

What did Alber Elbaz say about your decision?
He’s always been supportive; it’s a conversation we’d had for a long time. That was liberating, because he always told me I should be thinking about that, that it was important. I was just starting as an assistant when we met, when he joined Yves Saint Laurent. He’s the one who put me to work on accessories and jewelry fifteen years ago. I consider myself very lucky to have met him when I did. The same goes for Loulou.

What was your relationship with Loulou de la Falaise?
Love and admiration. She and Alber were the biggest influences in my life
between the ages of 20 and 30, and she was very intuitive. When it came to jewelry, among other things, she was so un-bourgeois; there was no snobbery, just a love of beauty. She didn’t overthink fashion, she just threw pieces together and it came out great. Precious things are not always what the world says they are. It can come in all sorts of shapes.

How will you juggle Lanvin and Top?
It’s easy for me, because its not the same story. What I do for Lanvin is for Alber—it’s guided by his collection, and it’s about the clothes and his world. But it’s costume jewelry, and it’s subject to the fashion calendar. High jewelry is based on other techniques, so I wind up doing something completely different. But I’m used to working a lot—I love it. Eventually I’d like to do other lifestyle objects, too. I’m only just getting started!

Photos: François Goizé

Kate And Pippa The Action Figures, Arielle Dombasle To Perform At Loulou de la Falaise’s Funeral, Juergen Teller’s New Book, And More…

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The U.S. toy company Hero Builders has turned Kate and Pippa Middleton into action figures. Both the dolls are supposedly wearing their dresses from the royal wedding, but let’s just say the toy company didn’t do any justice to the girls, or Sarah Burton’s craftsmanship. [Huff Po]

Actress Arielle Dombasle has been announced as part of the lineup for Loulou de la Falaise’s funeral today. Dombasle will sing and French Culture Minister Frédéric Mitterrand and Pierre Bergé are both reportedly speaking. [WWD]

For his new book, Get a Life, Juergen Teller convinced Pamela Anderson to run around looking disheveled while he photographed her. The untouched Anderson photos are unpublished images from Juergen’s Spring 2010 Vivienne Westwood campaign. [Hint]

An Albert Watson photo of Kate Moss at 19 years old is set to be auctioned off alongside shots of Brigitte Bardot by Terry O’Neill and a Corinne Day portrait of Moss. Watson’s Moss photo depicts the supermodel naked on a rooftop in Marrakech. [Vogue U.K.]

Loulou de la Falaise Klossowski, 1948–2011

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Yves Saint Laurent collaborator and famed muse Loulou de la Falaise Klossowski died over the weekend at 63—not that she appreciated the “muse” honorific. “To me a muse comes to have tea and cookies and a chat, and looks frightfully smart, then goes to a cocktail party,” she told a reporter in 2006. “But now that Saint Laurent is part of history, it makes me a part of history, so, yes, finally it’s not such a bad thing to have been a muse.”

The daughter of a French aristocrat and the socialite Maxime de la Falaise (herself a muse, to Schiaparelli), Loulou rose to prominence in swinging-sixties London before meeting the Saint Laurent set in Paris and, in 1972, joining the house officially to work on the Rive Gauche line, which she helped to inspire. “We’d been friends since 1968, and when I went to work for him, no one used the word ‘muse,’” she remembered. “I thought muses were there to lounge about and look beautiful, so I used to laugh when people started to call me [one]—it was such hard work.”

In later years, de la Falaise Klossowski ran her own shops, and, in a move that startled some, sold jewelry on the Home Shopping Network. But she also became the go-to for those seeking the official word the heyday of Saint Laurent. Earlier this year, she artistic-directed Saint Laurent: Rive Gauche, La Révolution de la Mode at the Fondation Pierre Bergé– Yves Saint Laurent.

Photo: Bert Stern / Conde Nast Archives

Vive La Rive Gauche

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Last year’s giant Yves Saint Laurent retrospective at Paris’ Petit Palais drew raves, but many missed seeing a recap of Rive Gauche, the designer’s ready-to-wear collection, which was the first foray of a French couturier into mass-produced clothes when it launched in 1966. Ask and you shall receive. The designer’s longtime partner, Pierre Bergé, pulled together an exhibition devoted exclusively to Rive Gauche at the Fondation YSL-Pierre Bergé, housed at the Avenue Marceau space where YSL spent most of his career.

Saint Laurent: Rive Gauche, La Révolution de la Mode, which opens today, is curated by Bergé and artistic-directed by YSL’s former right-hand muse, Loulou de la Falaise Klossowski, and features 60 of the designer’s iconic ready-to-wear pieces set in a re-creation of the label’s first boutique, which opened in 1966 at 21 Rue de Tournon on Paris’ Left Bank. “I want to be the Prisunic”—that is, chain store—”of fashion and make clothes that everyone can wear, not just rich women,” the young, white-coated YSL says in an interview of the period that opens the show. Inside, as a backdrop to the clothes, is shop designer Isabelle Hebey’s burnt orange carpeting and aluminum fixtures, Djinn benches by Olivier Mourgue, Japanese lanterns by Isamu Noguchi, and a life-sized wall painting of Saint Laurent by Eduardo Arroyo. YSL’s biggest hits from the sixties and seventies, like the classic navy caban and the lace-up safari tunic (the one worn by his great friend Betty Catroux in a photo from the London Rive Gauche store’s opening day in 1969, which covers the exhibition’s catalog), still look amazingly fresh, set against racks of bright floral dresses. So do the glass cases of Plexiglas parrot pins, rhinestone necklaces, and stacks of hammered metal bracelets, all synonymous with the Rive Gauche look.

“The tricky thing about doing this show was to find multiple editions of the same style and make themes,” said de la Falaise Klossowski. “The shop had to look real. If we’d combined lots of diverse pieces, it would have seemed like a sale.” It was a tough job, but de la Falaise Klossowski, who joined the house officially in 1972, says she’s used to those. “We’d been friends since 1968, and when I went to work for him no one used the word muse,” she remembered. “I thought muses were there to lounge about and look beautiful, so I used to laugh when people started to call me [one]—it was such hard work.”

Photos: © Luc Castel, Courtesy of the Fondation YSL-Pierre Bergé