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August 29 2014

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17 posts tagged "Pierre Berge"

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.

The Pierre Bergé-Sanctioned YSL Biopic Gets its NYC Debut

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YVES SAINT LAURENT BEAUTÉ and THE CINEMA SOCIETY Host the After Party for THE WEINSTEIN COMPANY'S YvesFor French director Jalil Lespert’s new biopic on the legendary Yves Saint Laurent, the designer’s longtime partner, Pierre Bergé, granted unparalleled access to the icon’s original creations, including more than 5,000 dresses, 15,000 accessories, and 35,000 sketches. But working with the archival pieces had its limitations. “No one could sweat in the dresses, and it basically meant no moving,” said Marie de Villepin, who plays the designer’s muse Betty Catroux, at last night’s Cinema Society screening of Yves Saint Laurent, hosted by The Weinstein Company and Yves Saint Laurent Couture Palette. “I’m complaining now, but how amazing is it to get to wear those museum pieces that got pulled out for the first time ever just to be in this movie?”

While the film showcases YSL’s designs—from the famous Mondrian dresses to his signature Le Smokings, it also sheds light on the man behind them. His battle with severe depression, as well as drug and sex addictions, made his relationship with Bergé a volatile one. (This film, however, has Bergé’s stamp of approval, unlike the other movie about the designer that recently debuted at the Cannes Film Festival.) “It was the price of being a genius,” Lespert said. “I didn’t want to make a movie about his dark side, but it was important to show that he had these struggles.”

After the screening at MoMA, the movie’s star Pierre Niney, Harvey Weinstein, and Martha Stewart, among others, regrouped at Beautique on West 58th Street. Though 83-year-old Bergé wasn’t in attendance, Niney reported, “The first time Pierre saw it, he was in tears. If the guy who shared a life with him believes in the Yves I did, that’s enough for me.”

Photo: Matteo Prandoni/BFAnyc.com

Eddie Borgo Escapes to Morocco

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Eddie Borgo

A singular color, Majorelle Blue, may be the starting point for Eddie Borgo’s Fall collection. But Borgo being Borgo, that was only the start of it. “I’ve always loved the color, I was familiar with Yves Saint Laurent and Pierre Bergé’s home in Marrakesh, but I wanted to find out more. Why this property? Why then?” he recalled in the Paris apartment where he presented his collection. Unraveling those questions led Borgo to photos of Chefchaouen, Morocco’s Blue City; the life of Talitha Getty and her jet-set entourage; and ultimately to interior designer Bill Willis, a friend to Getty and YSL and the interior decorator credited with bringing traditional Moroccan decor—mosaics, sandstone, bells, tassels, etc.—to mainstream design culture.

For Fall, Eddie Borgo gives those bells, tassels, and colors—cobalt, marigold, blood red—a rock-and-roll spin. He combines his signature geometric links with knots on an iteration of a Berber necklace, works starry black sandstone into large drop earrings, and recasts fez tassels as plugs that dangle from behind the ears. Among the lighter, more everyday pieces are a little bell necklace and flat, Tuareg-inspired rings that come in mix-and-match sets of four.

Elsewhere, a cuff bracelet and choker recall snake mosaics Willis created for a few of YSL’s bedrooms. “It’s really about him [Willis],” said Borgo. “The attitude is really specific to that place and time and those people.” No doubt Willis, a man known for living large and suffering no one, would have felt honored.

Photos: Courtesy of Eddie Borgo

Yves Saint Laurent vs. Saint Laurent: A Cinematic Duel, Coming to a Theater Near You

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Yves Saint Laurent

The trailer for the upcoming Pierre Bergé-approved Yves Saint Laurent biopic, starring Pierre Niney as the designer, has hit YouTube (below). Because the flick—aptly titled Yves Saint Laurent and hitting theaters next year—had Bergé’s blessing, its creators had full access to the house’s enviable archives, and they swathed the cast in vintage looks. However, another non-Bergé-approved film, dubbed Saint Laurent, will be released at the same time. And while it may not have an archive worth of YSL, it does have model (slash actress) of the moment Léa Seydoux playing Loulou de la Falaise. Which secret weapon will prove most riveting? Only time (and audiences) will tell.

Glitter and Be Gay? Addressing the LGBT Influence in Fashion

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Calvin Klein AdAs industries go, fashion may be the least closeted there is: No one can deny the massive impact made by men and women who identify as gay, lesbian, bisexual, and transgendered in the history of fashion and costume. Fashion historian Valerie Steele addresses the contributions made by LGBT people in a new exhibition, A Queer History of Fashion: From the Closet to the Catwalk, opening this week at the Museum at F.I.T. It includes pieces ranging from designs by Jean Paul Gaultier and Gianni Versace to Edwardian suits and nineteenth-century finery; clothing made by gays and for gays; as well as those items and styles co-opted and fetishized by gay audiences, and from gay audiences. (See, for example, Versace’s adaptation of leather fetish regalia into his women’s haute couture.)

As the exhibition makes clear—not that it wasn’t out, as it were, already—the gay contribution to fashion is beyond doubt. The question that’s much harder to answer is why. Shortly after the show was announced last year, I sat down with Steele, who co-curated the exhibit with Fred Dennis, to try to tease out the curious correlation and connection between gayness, politics, fashion, and style.

It goes without saying—but let’s say it—that many, many fashion designers and professionals are gay. Is gayness fashion’s default position?

I don’t know if it’s the default position, because there are heterosexual men, and there are women of all different sexualities, straight, gay, and bi, in fashion—though fewer of them have come out than gay men. But I think it’s not just a stereotype to say that there’s a lot of interest in fashion and style among a lot of gay men. What we’re interested in doing with Queer History is, if you can get beyond saying it’s just a stereotype, maybe you can start exploring why it might be the case that there’s this interest in fashion and style. You’re not pathologizing it; for one thing, most people like fashion now. You could explore, is there a kind of gay sensibility that would be drawn to issues of style and fashion?

And is there?
We tend to think yes. But we think there’s not one gay aesthetic, but at least a couple of different gay aesthetics. Several, probably: One that would tend to be more idealizing, and the other that would be more disruptive and gender-fuck.

But that idealizing aesthetic could be a kind of misogyny, no? You have male designers creating designs for women’s bodies that aren’t necessarily forgiving, or even possible…
If you go online, this is the vox pop: Do gay men hate women? You saw that [first] in the fifties, when you had all these very homophobic commentators, like the psychiatrist Bergler, who said that gay men hate women and therefore they make weird clothes for them to wear. But the point is, gay men have made all different types of clothes. It’s not just that they like girls to look like teenage boys, or they like girls to look like a caricature of women. It’s all different styles. And you find that straight men and women of different sexual persuasions also doing those, too. It’s much more related to their individual aesthetic and their time period than it is to their sexual orientations. So I think you have to confront that. Some people who don’t like fashion are going to say that it’s gay men making things for putatively straight women. But I think you can’t be held back by homophobic complaints. I think it’s more important to try and explore where things might lead you and not be constrained by irrational homophobia—and irrational fashion phobia, too.

Which go hand in hand.
Which often do go hand in hand.

Where does this connection between gay men and fashion come from?
I think it’s partly a kind of self-selection early on that gay boys, maybe before they know they’re gay, are interested often in artistic pursuits. “Artistic” was always a kind of euphemism for being gay. Lots of gay people talk about, “When I was four, I was telling my mother how to dress. When I was four, I was doing elaborate drawings of ladies’ costumes.” That’s before you have much of a sexual identity, but there’s already possibly something there that’s attractive about artistic and transformative fields like fashion. Fashion is about artifice and transformation and fantasy and a certain idea of beauty. I think it’s intrinsically very appealing to a lot of people, and it may just be that, at least in certain cultures—and there’s been so little cross-cultural work done, it’s hard to tell—that may be something that’s part of a gay male sensibility. Continue Reading “Glitter and Be Gay? Addressing the LGBT Influence in Fashion” »