April 24 2014

styledotcom .@marinalarroude rounds up the best black & gold finds from Saint Laurent, Marc Jacobs & more:

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3 posts tagged "Loulou de la Falaise"

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


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 The untouched Anderson photos are unpublished images from Juergen’s Spring 2010 Vivienne Westwood campaign.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


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


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