'He Needed Pierre Berge,' And Berge 'Needed To Be Needed' The film depicts the relationship between Pierre Berge (Guillaume Gallienne, left) and Yves Saint Laurent (Pierre Niney) as both interactive and supportive. The 26-year-old actor says, "That's the most fascinating thing about that character, the fact that in the worst moment of desperation and unhappiness and pain, he always managed to create new things - masterpieces, actually." Pierre Niney plays Saint Laurent in the film. He was vulnerable, excitable and had major nervous breakdowns. He had this incredible struggle of his life against illness." "He was definitely very sick," says Jalil Lespert, the film's director. Otherwise, as the film makes clear, Yves Saint Laurent - a diagnosed manic-depressive - was very, very fragile. "You were happy only twice a year" Berge says to Saint Laurent in the film, "spring and fall." That's when Saint Laurent was creating and showing his new collections. The clothes were sprung from cold storage on loan, and handled with extreme care and curator's gloves for the shoots.Īt His Lowest, 'He Always Managed To Create New Things' ![]() The movie re-creates a number of his fashion shows using gorgeous, super-skinny models draped, tied and zipped into actual Saint Laurent originals. A handpicked selection of stories from BBC Future, Culture, Capital and Travel, delivered to your inbox every Friday.Still, what Saint Laurent sent down the runway each season made the fashion world sit up and take notice. ![]() If you liked this story, sign up for the weekly bbc.com features newsletter called "If You Only Read 6 Things This Week". You can also see more stories from BBC Culture on Facebook and Twitter. To comment on and see more stories from BBC Designed, you can follow us on Facebook, Twitter and Instagram. Musée Yves Saint Laurent Paris, opens on October 3. Musée Yves Saint Laurent Marrakech will open on October 19. The two museums represent the acme of such ambition. He also invited such literary heavyweights as Marguerite Duras and Bernard Henri-Lévy to write monographs on Saint Laurent, thereby conferring intellectual status on him. It was he who proposed a retrospective of his work at New York’s Metropolitan Museum of Art in 1983. Still, it was chiefly Bergé who promoted Saint Laurent. Perhaps his passion for the arts – he and Bergé owned an impressive art collection, while his designs were often inspired by artists – made him feel that his work blurred the boundary between art and fashion. For him, the city offered a bolt-hole from his comparatively disciplined professional life in Paris.ĭespite being shy and tormented by depression in later years, Saint Laurent had an unshakeable self-belief and was acutely conscious of wanting to preserve his work for posterity. Saint Laurent first visited and fell under the spell of Marrakech in 1966. It’s appropriate that the museums are in these two cities, since the designer divided most of his time between them. The room temperature must be between 20 and 25☌.” “In Marrakech, the difference in temperature between night and day is big. “There are no windows to protect the clothing from direct sunlight,” he explains. ![]() The windowless, hermetic looking façade of the museum, designed by French architects Studio KO, is partly practical, says Björn Dahlström, its director. The Marrakech museum, which showcases 1,000 Saint Laurent couture garments lent by the Paris foundation, comprises a permanent exhibition space designed by Christophe Martin, a temporary one, a research library housing books about Morocco’s history and arts, an auditorium where designers and fashion historians will give lectures, a bookstore and a café. “Other objects include a pair of bronze lions which Saint Laurent, who was superstitious, owned because his star sign was Leo, a portrait of him by Bernard Buffet, photos of his dogs and a walking stick once owned by Dior.” His original studio has also been faithfully recreated: ”We have the simple table he worked on,” says Flaviano. It displays his and Bergé’s private photographs and images of their various homes, which have attracted almost as much interest among Saint Laurent fans as his clothes. The museum provides a more personal insight into Saint Laurent’s life, too. “Our idea is to give visitors an understanding of the entire creative process behind designing a garment,” its director, Olivier Flaviano, tells BBC designed. The Paris museum alone houses 5,000 haute couture garments, 15,000 accessories and thousands of sketches, atelier specification sheets detailing fabric and colour references, collection boards, toiles, textile samples, videos of catwalk shows and press cuttings.
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