SAINT LAURENT SS 2014
STEPHANIE REID RYAN WILLIAMS BRITTANY WASSERMAN CLAIRE ASHTON
HEDI SLIMANE There was a great deal of excitement surrounding the first collection presented under the newly rebranded Saint Laurent Paris, under the creative direction by Hedi Slimane. It is safe to say that the previously titled Yves Saint Laurent had not gathered this much attention towards their presentations in years. The report will focus on Slimane’s approach, the fabrications used, and the inspiration behind the collection. To grasp a better understanding of these concepts it is significant, if not essential, to look at the history of Hedi Slimane and his influence on modern fashion. When it was announced that Hedi Slimane would be returning to fashion design after a five-year hiatus, most people began to reflect on his tremendous run at Dior Homme between 2000 and 2007. However, Slimane’s appointment at Saint Laurent was actually a return to the fashion house due to Slimane designing, with a low profile mind you, the Yves Saint Laurent Pour Homme between 1996 and 2000 (Hellqvist, 2013). When Gucci Group purchased the Yves Saint Laurent house in 1999; Slimane was uninterested in continuing his relationship with the Yves Saint Laurent fashion house. He viewed YSL as the last true couture house in Paris and felt no need to conform to the new direction the Gucci Group, now Kering, would be taking the house (Gaboue, 2011). Slimane felt that his vision for the future of menswear would be compromised under the control of Kering. There was an opportunity presented by Christian Dior to take control of, and essentially build from the ground up, menswear at the storied fashion house (Hellqvist, 2013). Christian Dior is highly regarded for the tremendous impact he had on the industry when he presented his New Look collection in Paris in February 1947. Slimane’s first collection under Dior Homme, titled Solitare, would have a profound impact on the male silhouette. Hellqvist (2013) explores the similarity between Dior and Slimane in his argument that Slimane:
“…shared Dior’s total disregard for what his contemporaries created and, only half a century apart, the two designers craved a fundamental change in direction when it came to Dior’s image, silhouette, business model and all around perception. Both, in their own ways, were successful”(pg. 60)
Enough has been written within the media about the prevalence of skinny jeans and slim suits amongst men’s fashion (Hellvqist, 2013). The concept, silhouette, and image that Slimane introduced as become somewhat of a standard amongst companies aiming to produce successful menswear in 2013. Yet everything about Slimane’s ‘Solitaire’ collection was novel when presented in 2001. While widely adopted and interpreted since then, the initial inspiration stems directly from Slimane’s tastes,
beliefs, and lifestyle. Slimane provided an entirely new representation of masculinity, and his silhouette broke the body conventions of athletic builds and muscles that had dominated the 1990s (Hellqvist, 2013). While the majority of the fashion industry favoured cities such as New York and Milan, Slimane found inspiration from the culture of Berlin, Brussels, and Amsterdam (McDowell, 2013). It was the ‘scene’ within these cities that introduced Slimane to what would become his signature image. The gentlemen living in these cities, specifically amongst the indie scene in Berlin and London, had a much more rugged appearance to them. They were pale, slim, and possessed androgynous features that Slimane viewed as effortlessly cool (Hellqvist, 2013). Slimane frequently displayed his love for London’s indie music seen through his photography and citing individuals such as Pete Doherty and the band the Rakes are muses for his designs. Slimane casted the models he would use for Dior Homme presentations with these features that reinforced his new image of what men’s fashion would be moving forward. Solitare debuted in 2001 providing a new slim aesthetic, but his Luster collection in Fall/Winter 2003 showcased a darker aesthetic. Slimane utilized heavy leathers, draping, doses of neon, textural layering, with oversized long wool over coats (Hellqvist, 2013). It was a strong combination of hard attitude with soft, luxurious fabrications. It was reviewed as a Dickensian futuristic look, and described by Sir Elton John as ‘grotesque dandy look’ (Hellqvist, 2013). This presentation of luxury in rougher, rock-n-roll context became Slimane’s signature style. This same aesthetic is evident in Slimane’s latest collections for Saint Laurent.
Slimane recognizes the influence Dior Homme had on the rest of the industry. Slimane has been quoted as saying “I did not really have to design for a few years, since my design was still around, and still the subject of interpretation and appropriation” (Gaboue, 2011). Slimane left Dior in 2007 to have a hiatus from fashion design and return to his roots of photography. Similar to other great creatives with a signature aesthetic, Slimane merges different disciplines to form a unique streamlined output; the photography represents his views and translates into the fashion, and his fashion design influences the type of photography he produces. The underlying theme amongst all his work is the strong vibe of rock-n-roll and youthfulness that is translated through fashion, photography, graphics, and even furniture design (Hellqvist, 2013). His life since leaving Dior been well documented through the release of several photography books by Slimane along with continuous posting on his personal website. His blog provides a visual diary providing insight into parties, photo shoots, films, fittings, or portraits of close friends that are simply labeled under a section called ‘Rock’ (Hellqvist, 2013). The fact that Slimane was able to remain modern and relevant without designing fashion made his appointment as Creative Director at Yves Saint Laurent so thrilling. Slimane approached his new position with the same ambition and enthusiasm as his approach to Dior Homme. Slimane at Dior Homme “changed the name, the fit, the colours, the image, the store interiors, the website, and the logo. He changed everything. And, looking at his current venture, that is exactly what he is doing all over again” (Hellqvist, pg. 63, 2013). When news broke of Slimane’s intentions to completely rebrand the storied and reputable Yves Saint Laurent, controversy was bound to ensue. Many took the
dropping of ‘Yves’ from the name as a sign of disrespect to the founder and this perception was only fueled by Slimane’s redesign of the logo removing the iconic YSL motif (Chambers, 2013). However upon a closer look and consideration of Slimane’s choices, it is evident that his choices were rather intelligent and provided a subtle sign of respect to Yves Saint Laurent’s heritage. By calling the house simply ‘Saint Laurent Paris’, Slimane is acknowledging the significance of the brand’s initial readyto-wear collections under the name ‘Saint Laurent Rive Gauche’. Slimane even utilized the original Helvetica used by Yves Saint Laurent during the 1960s (Chamber, 2013). This approach of combining elements of YSL’s past heritage and contextualizing these elements for a modern age is evident across the entire Saint Laurent operation. Slimane’s signature aesthetic that represents rockn-roll luxury fits the mold of today’s modern luxury landscape. The reinterpretation of luxury can be see through contemporary designers such as Alexander Wang, Rick Owens, and the work of Riccardo Tisci for Givenchy. All of these designers’ work represents luxury in a modern, more casual, sportier aesthetic. While the rebranding was met with controversy, Slimane’s modern vision of Saint Laurent was proven successful, and Wallpaper Magazine gave Saint Laurent their most recent ‘Best Rebranding Award’ (Chambers, 2013). Slimane’s aesthetic can be described as an uncompromising dedication to his principles and beliefs. He maintains his aesthetic through various creative outlets and has the ability to provide an effortlessness that makes his product appealing (McDowell, 2013). It should be no surprise that Slimane would completely rebrand Saint Laurent to fit his very specific and clear vision of what fashion can be. Paul Deneve, CEO of Saint Laurent, has described Slimane as the ‘true successor of Saint Laurent’ who shares the ambition to break the mold and produce something truly original. Regardless of whether you are a fan of Slimane, there is no doubt that the direction Saint Laurent is heading will be radical, uncompromising, and unavoidable (McDowell, 2013).
THEME “There is that balance I want to find between the contemporary world—my studio in Los Angeles —and Paris—the church, pure tradition,” he explains. “The fashion is about both influences.” He pauses. “It’s the moment juxtaposed with tradition. That’s the house.
ROCK N’ ROLL INSPIRATION Hedi Slimane resides in Los Angeles, where he is part of a group of creative individuals, mainly artists, rockers and models, which resemble those who would hang out at Andy Warhol’s factory in the 60s and 70s. He has always been heavily influenced by rock n roll; this influence is very visible in his SS 2014 collection as well as in his previous collections for both women’s and menswear. Hedi
credits David Bowie as a huge source of his inspiration. Hedi saw Bowie in an ice blue doublebreasted suit, looking overly gaunt when he was about 6 years old. This image of Bowie, in all his “androgynous, angular glory” (Garland, n.d) is what sparked Hedi Slimane’s long infatuation with Rock n Roll. Slimane is both interested and inspired by “the British indie rock scene, and post punk rock revival with its throwback to the 70s and 80s” (Garland, n.d). Hedi is as well known for his photography as he is for his designs. His photographs are centered on fashion and rock n roll. Slimane produced a book, and also has a collection online called The Rock Diaries, which contain a large reservoir of his images that are of various music festivals, the London music scene, and artists such as Sky Fierra, Phoenix, Lady Gaga, Marilyn Manson, Daft Punk, Franz Ferdinand and Amy Winehouse, to name a few. His photos give off a raw and impactful aesthetic, perfectly aligned with his vision fueled by his “liberated energy and passion” (Mehta, 2013), which defines his outlook on the fashions of today. Slimane’s rock n roll aesthetic is not something new to this 2014 collection; this inspiration is evident in all of his work, including his menswear collections, previous womenswear collections, his photography, and his fashion film. Slimane has literally created his own archetype, which is “young, individual, and thoroughly rock n roll” (Nguyen, 2013). As these gaunt, and super androgynous models stomp down the runway to Liars, an alternative band from LA, it is immediately evident that rock n roll is a major theme of the collection. Model Edie Campbell opened the show with her “sullen pout and died black mullet” (Blanks, 2013) clad in a sparkling black mini dress with a plunging v neckline. The pieces in the collection that particularly give off a very 70s party girl/ rock n roll aesthetic, include the gold and red metallic mini dresses, the one shoulder tops and dresses with various motifs including lips, emulating classic YSL, flames, and geometric shapes, and playful prints on skirts and tops in stripes, and animal prints. Heller notes that Slimane doesn’t like many of the fabrics available to designers today as he believes they are generic, cheap, and do not sit right. He frequently commissions his own fabrics that are on par with the specialty weaves of the sixties and seventies. Many of his pieces involve hundreds of hours of tailoring done to the highest haute-couture standards. For this reason we can only use our best knowledge, as well as knowledge from previous collections, to appropriate certain fabrics to the designs we see in this collection. Leather is a fabric, which is utilized quite extensively in this collection. The looks below contain leather, and are very much rock n roll inspired.
Seen to the left is a gold metallic embossed leather mini dress, a shiny leather pink and black stripe top, and a black leather jacket.
There was a use of motifs on silk shirts and dresses can be seen below. The prints used exude a very rock n roll aesthetic. The one-shoulder styles are very eminent of classic Yves Saint Laurent, and the way in which the shoulder on the red dress is constructed, shows Slimane’s superior attention to detail and craftsmanship.
YOUTHFULNESS Hedi has certainly created a divide between YSL followers; angering devout Yves followers and receiving praise from the new generation of fashion innovators such as Leandra Medine. The first change Hedi made was removing Yves from the brands name, and rendering it to Saint Laurent Paris. The name change was apparently to revive the youthfulness of the brand. Youthfulness is a reoccurring theme for Slimane in his designs. He is interested in youth aesthetics and its “total freedom and validity, where everything is possible, life is a playground� (Garland, 2010). In this collection, there is certainly an element of youthfulness throughout; from the short and flouncy mini dresses below, to the black party dresses and playful prints. The way in which Hedi is transforming the brand is aligned with this essence of youthfulness as well.
MENSWEAR INSPIRATION
These flowy mini dresses made of silk exude youthfulness. On the left there is a sequenced cropped shall, over a bright hue of green which is quite the contrast to the other pieces in this line which are quite dark in contrast, and the right shows a similar style, in navy, which drapes beautifully.
Slimane’s ‘skinny suits’ that he introduced at Dior Homme have become somewhat of a staple in his designs. It came as no surprise that for his take on the suit silhouette would appear in both his men and womenswear collections for Saint Laurent.
With the responsibility of being Creative Director of Saint Laurent, Slimane also undertook the role of designing womenswear for the very first time. There was no doubt that his designs would be heavily influenced by his prior work Dior Homme menswear. Slimane’s work at Dior Homme was worn and interpreted by females looking for a more rugged, masculine appearance. Slimane’s take on the male silhouette, specifically for suits, mirrored Yves Saint Laurent’s attention to movement and fit when he debuted his ‘Le Smoking’ tuxedo for women in the 1970s (McDowell, 2013). When Slimane presented his first womenswear collection for Saint Laurent Spring/Summer 2013, he reached into the YSL archives to pull classic YSL pieces from the 1960s and 1970s and provided a dose of modern relevance needed to be successful today (Hellqvist, 2013). Amongst the staple pieces that have been utilized for all Saint Laurent collections designed by Slimane are a trenchcoat, a YSL staple piece, however slimmed down the shape and provided minimal rivet detailing that is suitable
for both men and women. For Saint Laurent womenswear 2014, Slimane styled the models wearing an assortment of cropped and full-length formal jackets that heavily relied on a strictly black palette. However, prevalent amongst both his men and women’s collections were the use of printed blazers with contrasting black, at times leather, detailing such as lapels and trims. Black wool tuxedos are showcased as both a full tuxedo and separate pieces with fits ranging from long, fitted, and oversized to cropped and slim. Models are often fitted in classic Slimane slim black trousers or jeans, with leather being emphasized in the form of accessories, jackets, and trousers. The leather moto jacket was been offered in a variety of styles in both his men and women’s collection and could be considered as a new staple piece for the revamped Saint Laurent. Slimane offered masculine safari styled jackets in both of his collections. Slimane also touched on his Dior Homme roots through providing fitted suits in his womenswear collection offered in black-tie formal, black and sleek, or glen plaid styles that echo Slimane’s London indie scene inspiration. Slimane’s aesthetic can be described as androgynous, but perhaps a definition more suited to Slimane’s designs would be ambi-sexual. Similar to the design of Chuck Taylor sneakers or Ray-Ban Wayfarer sunglasses, Slimane’s designs look natural and attractive on either gender (Heller, 2013). Slimane uses his creative direction, design, and use of androgynous models to enhance this image for Saint Laurent. Slimane further challenges traditional gender barriers by merchandising his collections together in Saint Laurent boutiques and listing items online as ‘unisex’ to demonstrate the pieces’ interchangeability (Hellqvist, 2013). Critics have displayed mixed reactions of Slimane’s initial womenswear collections, however stores are reporting that up to sixty percent of Saint Laurent collections are sold at full price (Cowles, 2013). The success of the new Saint Laurent collections speak to Slimane’s influence by having the ability to now shift the aesthetics and direction of not one, but two major fashion houses in the last fifteen years (Ma, 2013).
CLASSIC YVES SAINT LAURENT Even though Hedi Slimane took a different approach to his collection, he still honored Yves Saint Laurent through his use of several styles made famous by the late designer. These classic looks were given a fresh approach through the use of new fabrics and styling choices. However, they were still very reflective of the history of the fashion house.
Sheer Blouses: Introduced by Yves Saint Laurent in 1966, the sheer blouse is one of the designer’s famous looks, and Hedi Slimane reinterpreted the piece in a modern way for the Spring/Summer 14 collection. The fabric used for the tops is silk chiffon, giving the garment a delicate and sheer look. Silk chiffon drapes better than chiffons made from synthetic or man-made fibers, and garments made with it flow
and move well. Even though Slimane used a classic style and fabric, he added he own touch through the use of a polka dot pattern and other unique details. By pairing the blouse with sleek leather jackets and skirts, Slimane imparted his own aesthetic on the look.
The One Shoulder Another look seen throughout the collection is the classic one-shoulder Yves Saint Laurent style. In both dresses and blouses, Slimane uses this signature design element, while adding his own twist through the fabric and silhouette. One novelty fabric that appears to be utilized in this portion is a charcoal lamé. Although Hedi is not forthcoming with the details behind his collection, it appears, based on the sheen and drapability, that lamé was the chosen novelty fabric for his one shoulder ode to Yves Saint Laurent. “Lamé is a shimmering material that is created by combining metallic fibers and natural or synthetic fibers into a woven or knit fabric. The high gloss finish makes it a very striking material that catches the smallest lights and seems to give a sense of movement to any garment created with the material, (Tatum, 2013).” These qualities make it a great fabric choice for glamorous and chic eveningwear. In addition to lamé, Slimane incorporated silk chiffon into his oneshoulder looks as a basic fabric, which was used throughout the collection as well.
Le Smoking Jacket
Although Slimane’s menswear influence is directly seen through his use of pantsuits and skinny ties, it is also present as a tribute to Le Smoking jacket in many of the looks. Le Smoking style is, “a tuxedo suit of velvet or wool—black-tie menswear reinterpreted for the female form. Although Saint Laurent’s masculine alternative to the Little Black Dress was done up with frilly white shirts, cummerbunds, and satin lapels it did ruffle a few feathers (Voguepedia).” Yves Saint Laurent introduced his famous look in 1966, a design which was revolutionary for its time. By incorporating blazers and leather jackets into almost every look, Slimane stays true to his roots, as well as the influence of Yves Saint Laurent with “Le Smoking” jacket. In the past, Slimane has utilized black wool crépe for his le smoking jackets, which appears to be similar to what he used for the 2014 collection. “The fine weave of light- to medium-weight crepe wool gives it a very elegant, polished look, making it the wool of choice for high-end business suits for men and women. Its slightly pebbled surface, caused by tightly twisted yarn, gives crepe wool a weave that often has a lustrous effect, giving it the look and feel of fine, elegant cloth” (Burkell). All of these qualities make wool crépe the perfect fabric for recreating this timeless look.
The Lip Print Another iconic Yves Saint Laurent piece utilized in Slimane’s collection is the lip print. Slimane reworks the print into a one-shoulder sequin top with a white base, as well as a black long sleeve mini dress. Yves Saint Laurent introduced his design in the 1970’s, and remains relevant amongst contemporary designers. Hedi’s version is sleek and sexy, using his own experiences to interpret the famed design. The wrap dress is made of silk georgette, which allows the dress to drape beautifully. In addition to the dress, the novelty fabric is also used for a one-shoulder blouse with the addition of sequins to portray his love for rock and roll.
The Safari Jacket Yves Saint Laurent was a designer that was extremely sensitive to the cultural and societal movements of his time. He designed garments that were flexible, comfortable and elegant for the new woman. Women were upraising and active and Saint Laurent designed cloths that would accommodate their active lifestyle. This perspective shaped the designs of several iconic Yves Saint Laurent pieces, specifically the safari jacket. The jackets were a take on the practical hunting uniform converted into a comfortable ‘townswear’ ensemble. This hit piece became one of the many iconic looks to come from the atelier, and served as inspiration for Slimane’s current collection. The look is showcased during Saint Laurent Spring/Summer 2014 with the model with wearing a black skirt and green, oversized safari jacket. The green jacket is a clear throw back to the 1968 collection (Metropoltian Museum of Art, 1984).
The jacket is a medium weight and made with 100% sturdy cotton material (Saint Laurent). Cotton is a fibre almost entirely made up of cellulose. It is soft and breathable. The length of cotton fibres are of about 10-65 mm and the diameter ranges from 11 to 22 microns. Cotton is a fabric that absorbs moisture well, making the garments comfortable in warm temperatures. Once woven in to a fabric the end result is a durable and easy to care for material (Discover Natural Fibres, 2009). The fabrication used for the jacket is made from the cotton fibres were spun into a yarn and woven, and it is woven using a twill weave (Saint Laurent: Crop Cotton Jacket). A twill weave is a complex weave using multiple warp and weft threads. The repeat of a twill weave is indicated by a numeric number ratio, such as 2/2, the first number refers to the amount of picks that passes over an end and the second number of picks which pass underneath. (Burnham, 1964) The weaving process creates diagonal, parallel ridges, called wales. The manner in which twill is woven makes it extremely durable, tear resistance, and resist wrinkles. Twill drapes well and it often used for work clothes and coats, as it is being in this case. Twill fabrics are water and air- resilient making them easy and practical materials (Cotton Twill Fabric Information).
Controversy
Yves Saint Laurent was a man who was often met by controversy. He was ousted for his position as creative director of Dior and the collections he designed in his own house were met by ‘outrage and adoration’ (Voguepedia, 2013). As a true successor, Heidi Slimane’s brief period at the helm of the atelier has been met with similar controversy. The controversy began with his fall 2013 womenswear collection; featuring grunge inspired looks with models wearing
fishnets, heavy boots and baby-doll dresses. His 2014 spring collection has been met by a similar debate.
Slimane’s spring 2014 collection for Saint Laurent has been met by love and hatred. His choice of patterns and styling’s have been a topic of heated debate between those who believe he is creating beautiful, youthful pieces, and there are those who believe that the new-look that Slimane is bringing to the historic French house is atrocious. Some spectators to shows found that Slimane’s show was a hit. The garments that strutted down the runway were striking, youthful and redefined the concept of ready-to-wear. They praised the designer’s ambition to attract a new generation to the fashion house, and that his pieces were instantly retail ready. Lisa Armstrong from the telegraph, for example, stated that while sitting in the audience she heard fashion editors and herself “making a mental checklist of the pieces [they] can imagine plenty of women wanting” (Armstrong, 2013). The warm receptions from many who support Slimane’s vision believe the collection is fresh and fun, and show unequivocal support for the spring garments. Popular pieces include the cropped safari jacket, the black trench, and the sheer tops. These items are casual yet elegant, and would be simple additions that would mix well into everywoman’s wardrobes (Nekhim, 2013). On the other hand, there have been many who were shocked and offended by the collection and were horrified by the sight of the short, tight, leather pieces. Fans of the Yves Saint Laurent brand found the designs sported by the model exuded an image of cheapness, ‘immaturity and insecurity’ (Givhan, 2013). There were those who have declared the collection to be Slimane’s failed attempt at reinvention of the Yves Saint Laurent label or a simply stated that the collection is ‘ugly’ (Givhan, 2013). Furthermore, many have questioned the validity of Slimane’s youth movement, wondering whether there is a market for “18-24 year olds [with] several thousand euros (dollars) to spend on a jacket or a metallic mini skirt?” (Adamson, 2013).
Conclusion In conclusion, Hedi Slimane’s return to fashion did not disappoint. The main influence behind the collection is Hedi Slimane infusing his own aesthetic into a revamped Saint Laurent that showcases a spirit of rock-n-roll youthfulness. The pieces designed by Hedi Slimane for Saint Laurent Spring/Summer 2014 incorporate his former aesthetic at Dior Homme reappropiated for womenswear, along with showcasing casual pieces such as leather jackets, safari jackets, and slim
black trousers and jeans. Although a different direction for the Saint Laurent house, Slimane’s vision has been highly documented and met with support from the market with a majority of the collections selling out across the world. It is evident from looking at Slimane’s entire body of work that he will continue to incorporate his lifestyle into his designs and provide a fresh perspective on luxury.
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