In addition, the “Y,” “S,” and “L” were oblique, making the lettering seem to flow from left to right. Such a difference in the size of the letters was needed to divide the text into three words, between which there were no spaces. All characters were in uppercase, but the first “Y,” “S,” and “L” stood out noticeably in size. The YSL logo combined cursive and Latin styles, sans serif and serif. But this did not stop the Frenchman, and he successfully bypassed all the restrictions, developing an inscription from an impossible combination of symbols. There was an unwritten rule in the world of type designers: do not mix radically different letterforms. Adolphe Mouron showed amazing creativity because he was able to combine the incompatible.
#Claquette yves saint laurent full
This created an interesting contrast, transforming a still drawing into a dynamic image.īelow is the full name of the fashion house. All three letters had short, sharp serifs and lines of varying thickness. In the center was “S,” which was used as a kind of “frame” for “Y” (top) and “L” (bottom). The main symbol was a vertical monogram of stylized letters “Y,” “S,” and “L.” They are exquisitely intertwined with each other, expressing sensuality and craving for experimentation. Therefore, the Yves Saint Laurent logo looked extremely unusual. The artist’s work was influenced by Cubism and Surrealism, which may have affected the results of his future activities. The YSL trademark was one of the last works of Cassandre before he took his own life due to depression. He was born in Ukraine, then moved to France and received an education in arts. Its author was the designer Adolphe Jean-Marie Mouron, better known as Adolphe Mouron Cassandre. YSL got its first logo about a year after starting the business.
He followed the path of simplification, for which fans of the iconic brand criticized him. The new leader removed the Yves name from the fashion house’s name and abandoned the iconic logo, developed in 1962. This happened after Hedi Slimane took over as creative director. In 2012, a scandalous rebranding was carried out. Berge resigned as CEO of YSL, and the company itself remained the property of Gucci. Completely disenchanted with the era of Nike sneakers and monotonous jeans, Saint Laurent gave up the work of his life. They opened a high fashion boutique, for which they borrowed money that they could not return. In protest, Pierre Berge, together with the eminent designer, tried to create a new business. Freedom of expression came to an end when Gucci executives decided to completely reimagine the brand. Saint Laurent continued to create, leading the haute couture direction. Therefore, Berge and Saint Laurent were forced to sell their developing project to the French pharmaceutical company Elf Sanofi Beaute, which in 1999 came into the possession of Gucci, along with most of the assets. Later, the assortment was supplemented by jewelry, footwear, clothing, accessories, and other luxury fashion goods.īut the success was short-lived: in the late 1980s, one of the investors suffered losses and could not finance the fashion house. The first products to generate income were perfumes. While Saint Laurent was undergoing treatment, Berge made lucrative agreements and built the business from scratch.
So in 1961, the iconic fashion house YSL appeared. Ultimately, he was released from military service, deemed unfit due to a nervous breakdown.Īll this time, Pierre Berge was looking for investors to found a company. A year earlier, he was fired from Dior, where he worked as a chief designer for several months and then drafted into the army. And the high glamour of ’30s/’80s evening jackets with big bands of faux fur running around them.Before starting his own fashion house, Yves Saint Laurent was deeply depressed. Then the punctuation of something as simple as an ecru floor-length turtle neck T-shirt dress, worn with deep stacks of dark wood and silver bangles on each arm. Of course, there was a lot more in between: fake fur coats and bombers amazing overcoats with big (not too big) shoulders narrow leather coats elegantly nonchalant cocoon-back profiles. And then the line-up of flawless black tuxedos and a single, narrow black tux coat which came at the end. What will be remembered most? Purely the sight of a woman in a long, silvery bias-cut dress, with a perfect black low-buttoned double-breasted black peacoat over it, her hands thrust into the pockets. Sophisticated, sinuous, simple: it had almost a throwback ’90s Belgian coolness about its long, narrowly languid silhouettes, the covered arms, the subtly strict use of color.
It was the most lingeringly memorable show of Anthony Vaccarello’s career.
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