djellaba yves saint laurent | yves saint laurent dresses djellaba yves saint laurent By 1954, Dior had jettisoned the hourglass silhouette of his New Look for a flat H-line shape recalling the Jazz Age. In 1955, he added Yves Saint Laurent, a 19-year-old French . Cardmarket uses cookies and other related tools. Aside from required cookies, we also apply other types of cookies, but only if you consent to them.
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By 1954, Dior had jettisoned the hourglass silhouette of his New Look for a flat H-line shape recalling the Jazz Age. In 1955, he added Yves Saint Laurent, a 19-year-old French . Yves Saint Laurent and his partner Pierre Bergé first traveled to Marrakesh in 1966 and were met by an entire week of rain. But the day the sun came out, the couple fell head .When Saint Laurent died in 2008 of a brain tumor at the age of 72, the headline of The New York Times obituary read, “Yves Saint Laurent, Who Changed the Color of Couture.” It was a .Bergé said Saint-Laurent took the essence of the Moroccan Djellaba, a type of gown, and the color and light of Marrakech, and incorporated it in his work. The BBC’s James Copnall in Morocco says the Majorelle Gardens are “a striking and stylish area of respite from the heat of Marrakech and a fitting final resting place for Saint-Laurent.”
By 1954, Dior had jettisoned the hourglass silhouette of his New Look for a flat H-line shape recalling the Jazz Age. In 1955, he added Yves Saint Laurent, a 19-year-old French designer from Algeria, to his team, and the house introduced the triangular A-line silhouette and the wide-shouldered, slim-skirted Y-line shape.
Yves Saint Laurent and his partner Pierre Bergé first traveled to Marrakesh in 1966 and were met by an entire week of rain. But the day the sun came out, the couple fell head over heels in.When Saint Laurent died in 2008 of a brain tumor at the age of 72, the headline of The New York Times obituary read, “Yves Saint Laurent, Who Changed the Color of Couture.” It was a double wordplay. Though adaptations of everyday Moroccan clothing like the djellaba, the jabador, and the burnoose made appearances in the silhouettes Saint Laurent sent down the runway—just as he adapted the Moroccan veil and turban in his haute couture—it was the vibrant hues of these nomad caftans that reminded the designer of Delacroix sketches and . Not because he wanted to do a (heaven forbid) YSL in Morocco tribute collection—save for the very occasional appearance of a few diaphanous djellaba-like shirts, the location wasn’t at all .
Not because he wanted to do a (heaven forbid) YSL in Morocco tribute collection—save for the very occasional appearance of a few diaphanous djellaba-like shirts, the location wasn’t at all apparent in what he showed—but because he understood that the city had been a place of solace and refuge for Monsieur Saint Laurent, in much the same . Yves Saint Laurent always insisted upon the important role Morocco played in inspiring his work. He managed to appropriate such traditional garments as the djellaba, the jabador, the burnous, and the tarboosh in order to create . The handcrafted zellige tiles, Zouak wood painting techniques, djellaba robes, and caftan garments he spotted throughout Marrakech deeply inspired the French couturier throughout the 1970s, a time in which he created lavish ready-to-wear garments that now star in a dazzling exhibition at the restored chapel of St. John the Evangelist near the . Pierre Berge said YSL took the essence of the Moroccan Djellaba, a type of gown, and the colour and light of Marrakech, and incorporated it in his work. Saint Laurent retired from haute couture.
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Bergé said Saint-Laurent took the essence of the Moroccan Djellaba, a type of gown, and the color and light of Marrakech, and incorporated it in his work. The BBC’s James Copnall in Morocco says the Majorelle Gardens are “a striking and stylish area of respite from the heat of Marrakech and a fitting final resting place for Saint-Laurent.” By 1954, Dior had jettisoned the hourglass silhouette of his New Look for a flat H-line shape recalling the Jazz Age. In 1955, he added Yves Saint Laurent, a 19-year-old French designer from Algeria, to his team, and the house introduced the triangular A-line silhouette and the wide-shouldered, slim-skirted Y-line shape. Yves Saint Laurent and his partner Pierre Bergé first traveled to Marrakesh in 1966 and were met by an entire week of rain. But the day the sun came out, the couple fell head over heels in.
When Saint Laurent died in 2008 of a brain tumor at the age of 72, the headline of The New York Times obituary read, “Yves Saint Laurent, Who Changed the Color of Couture.” It was a double wordplay. Though adaptations of everyday Moroccan clothing like the djellaba, the jabador, and the burnoose made appearances in the silhouettes Saint Laurent sent down the runway—just as he adapted the Moroccan veil and turban in his haute couture—it was the vibrant hues of these nomad caftans that reminded the designer of Delacroix sketches and . Not because he wanted to do a (heaven forbid) YSL in Morocco tribute collection—save for the very occasional appearance of a few diaphanous djellaba-like shirts, the location wasn’t at all .
Not because he wanted to do a (heaven forbid) YSL in Morocco tribute collection—save for the very occasional appearance of a few diaphanous djellaba-like shirts, the location wasn’t at all apparent in what he showed—but because he understood that the city had been a place of solace and refuge for Monsieur Saint Laurent, in much the same .
Yves Saint Laurent always insisted upon the important role Morocco played in inspiring his work. He managed to appropriate such traditional garments as the djellaba, the jabador, the burnous, and the tarboosh in order to create . The handcrafted zellige tiles, Zouak wood painting techniques, djellaba robes, and caftan garments he spotted throughout Marrakech deeply inspired the French couturier throughout the 1970s, a time in which he created lavish ready-to-wear garments that now star in a dazzling exhibition at the restored chapel of St. John the Evangelist near the .
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