It was sometime late February 2012 – the fashion industry was scrabbling to cushion the heartbreak of Raf Simons’ departure from Jil Sander, where the sartorial visionary stamped his mark by astutely reviving the German fashion house with a dose of contemporary minimalism. The ambiguity of Stefano Pilati’s relationship with the higher echelons of Yves Saint Laurent was the subject of speculation of many – it was no surprise when the French house announced his exit and placed Hedi Slimane at the helm as Pilati’s subsequent successor. The final Fall/Winter ’12 showcase was structured with strength; in design and spirit - Anna Wintour stood to raise her acclaim for Pilati as he bowed for the last time as Yves Saint Laurent’s creative director, a rarity in the American editor’s book of gestures. But, it was more than the underlying grief muted by the wave of applause and critical accolades. It was the silence of the skeptics, the weight of succeeding Tom Ford being shed off and the eight years of refined French sophistication that is ultimately central to the house of Yves Saint Laurent.
The introduction of Hedi Slimane as Pilati’s successor – at
its embryonic stage – sparked verbal altercations between Slimane’s cult
followers and well, everybody else. Riding on the success of the ‘skinny suit’
and championing Dior Homme, ‘edginess’ and rock-and-roll was the linchpin of
Slimane’s design principles – but the question brewing on everyone’s lips was,
how would he accommodate his trademark grunge, epicene signature into Yves
Saint Laurent, a house famed for ‘Le Smoking’ suits and sophisticated glamour? No
question, I was inevitably on the bandwagon where the cynics habituated;
Stefano Pilati to Yves Saint Laurent, to me, was like Riccardo Tisci to
Givenchy – sure, a marriage without its rocky parts is unheard of but at their
best, they were empyreal; untouchable (the way Raf is to Dior, currently). Hedi
Slimane’s Dior Homme was revolutionary, undoubtedly; but as a womenswear
designer, the achingly-hip and ruling monarch of the 21st century
rock-and-roll culture paled in comparison on paper.
An excerpt from New York Times:
“Mr. Slimane coveted the job at Saint Laurent, and,
according to those familiar with the negotiations, he encouraged rumors that he
would eventually replace Mr. Pilati. Those reports haunted Mr. Pilati for
years. Mr. Bergé also became more vocal about his displeasure with its
direction after the death of Mr. Saint Laurent in 2008. Mr. Bergé said he never
actively campaigned for Mr. Slimane, but when Mr. Pinault finally told him he
was giving the job to Mr. Slimane, he was, of course, ‘very, very happy.’”
Hedi Slimane did little to comfort the pessimists. The
industry is ever familiar with Slimane’s narcissistic, diva-esque (trust me, it
pains to resort to such a word) conducts, such as limiting seats to significant
guests – design-wise, liberty was a concept Slimane appreciated and, well;
liberty he wanted, liberty he was gifted (Pierre
Bergé’s a Slimane fan).
The apparent deconstruction of Yves Saint Laurent began with Slimane’s
executive decision of dropping the ‘Yves’ from the fashion house’s name – to
‘Saint Laurent Paris’ – an uproar ensued, naturally, as rebellion and Hedi
Slimane was indivisible. It was a nod to the ‘60s Saint Laurent Rive Gauche and
Pierre Bergé’s backing of Slimane
meant one thing: there was no turning back. It was only the beginning of a labyrinth of backlash and
common vexation. The house of Saint Laurent was to be moved from Paris to
downtown Los Angeles, resonating with Slimane’s ceaseless intrigue with the
young and the ‘cool’ – it was upsetting to say the least, as to some it seemed
as if he was stripping the quintessential Yves Saint Laurent spirit of the
brand; an unnecessary overhaul. To some, it marked disrespect – the name and
Parisian headquarters are closely tied to the heritage left behind. For the
firm believers and fashion optimists, the uprooting of Saint Laurent came with
the ‘Hedi Slimane’ package. A conducive environment brews success, and it
seemed for a second, the whole shebang was justified on the grounds that it was
what it would take to make Saint Laurent completely “Hedi” (and all for a
designer, foreign to the womenswear waters.) A lover of disobedience myself, I
detested the idea of Hedi Slimane (developing a legitimate headache from
rolling my eyes too hard – that’s detest, yes?) but it was diluted by a surge
of anticipation – is he setting us up for a spectacle? Could ‘Saint Laurent
Paris’ adorn the hip, 20-somethings of the modern day, clutching on to the
foolproof mixture of sleekness, sophistication and nonchalance?
The stance of ‘Saint Laurent Paris’ was reiterated with
Slimane’s Fall/Winter 2013 in such an unapologetic manner – it was a youthful
rebranding, in what may seem like an abuse of creative liberty. Hanne Gaby
opened, and at first glance she seemed like she’s mastered the art of model off-duty
dressing (note: her personal style in actuality is charmingly whimsical) –
decked in a gleaming skater dress under a disheveled plaid cardigan, perfected
with polka-dotted tights and biker boots. The show continuously echoed the
modern grunge ideologies; plaid tops, baby-doll dresses and skimpy leather
offerings. Sifting through the high-resolution images; it was a regurgitation
of the mass-produced grungy model off-duty styles readily available on the
shelves and racks of Topshop, Zara and All Saints. No sense of nostalgia could
be excavated out of the showcase where the traditional Yves Saint Laurent girl
seemed as if she was a regular at London’s Beyond Retro, digging for vintage
gems to be styled in the ways Lookbook.nu would teach you. Granted, the deftly
crafted leather jackets and one-off pieces resonate with Slimane’s principles
and tailoring abilities – but the wonders were minimal and the clothes were
bereft of any sense of ingenuity. In respect of Slimane’s clearly palpable
spirit to bring the Saint Laurent girl to the future, the showcase was his interpretation
of a 21st century free-spirited youth; but unfortunately, the only
pubescent aspect was his delivery.
For one who’s admittedly a Stefano Pilati fan – it was a
lump to digest in the sense where I am closely attached to the sentiments of
Yves Saint Laurent; the Paris-based fashion house with genuine substance, an
unmistakable identity and polished glamour. Hedi Slimane’s opinion of the
‘Saint Laurent’ girl (or, woman – but it seems to be a ‘girl’ under Hedi) deviates
from the highbrow atmosphere circulating ‘Yves Saint Laurent’. The faces of
‘Saint Laurent Paris’ print for the season include Courtney Love, Marilyn
Manson and more recently, high-fashion darling Cara Delevingne paired with Z.
Cole Smith – all in monochromatic, true Slimane style. On the accessories
department – the classic Yves Saint Laurent bags are, thankfully, here to stay.
The proclaimed ‘it-bag’, the Saint Laurent Paris’ duffel bag to me, is a constant
reminder of Slimane’s (current) lack of imagination coupled with its vapid
commercialization. With fashion houses like Dior, Givenchy, Prada, Louis
Vuitton and Jil Sander (and maybe, Chanel) – where does Hedi Slimane stand
against fashion front-runners such as Raf Simons, Riccardo Tisci, Miuccia Prada
and Marc Jacobs?
Amira Amirudin
Source: The New York
Times, The Guardian, Style.com, Women’s Wear Daily, The Fashion Spot,
Fashionologie, Huffington Post Style, Vogue.com, Business of Fashion, Fashionising.