Yves Saint Laurent: Quelle difference. We’re not in Tom Ford Slick Seductionville anymore. Rather, it’s difficult to imagine that the person who designed the Yves Saint Laurent collection shown on Sunday night worked side by side with Ford for years. That’s because, in his inaugural effort for the house, Stefano Pilati turned 180 degrees, getting woefully lost at a crossroads between the Saint Laurent archive and mid-Eighties 530 Seventh Avenue.
Anyone accustomed to Ford’s pre-show champagne reception and the comfort of the tony black padded sofas set up under his grand black tent at the Musee Rodin couldn’t help but utter a nostalgic sigh over the switch to the everyman’s venue of the Bourse, arranged with basic ballroom chairs, not a tray-wielding waiter in sight. But that was hardly the only change. “I wanted to add a touch of femininity,” Pilati said of his clothes during a Saturday morning preview. “I wanted to make the silhouette more comfortable, easier. And I’m a bit tired of nudity, sick of G-strings and belly buttons.” He also said he chose simple fabrics — piques, classic taffetas — because in the past, “everything became about the details and embellishments. I wanted something more comfortable.”
All of which sounds like code for less sex and more accessible clothes, less expensive to produce than those Ford championed during his tenure at the house. Asked if this were true, Pilati replied, “Of course. We’re not in the best shape.”
Fair enough. But that hardly explains his bonanza of polkadots, or choice of a “Proustian” bubble-hipped, bustle-back pleated skirt as the collection’s dominant shape. Pilati showed this over and over, in wispy chiffons and sturdy cottons, even knock-around khaki, often with small peplumed jackets cinched with wide belts. He also touched on safari and did a particularly peculiar turn — or turns — with stiff, swirling eveningwear right out of a Nouvelle Society lampoon. The mood tickled at least one audience member, Pierre Bergé, who said the designer had “returned to Saint Laurent’s spirit. It wasn’t Ford’s kind of imposed, fascist-style statement.”
Nor was it a look with currency. True, when Pilati accepted this job, he accepted a mandate along with it. As Saint Laurent president Mark Lee told WWD last week, the company strategy includes putting greater emphasis on daywear as well as exploiting the house classics — le smoking, safari, even logos — because “big volume depends on icons.” A reasonable position. But being a successful designer at a major house depends on having your way with the iconography — and knowing when to say no. If Gucci Group intends to keep Saint Laurent positioned “against the leading French luxury houses,” as Lee said, Pilati will have to develop a hearty, modern look and the resolve to say no to the suits when he thinks they’re wrong. On the other hand, if Pilati believes with conviction that this is the kind of collection on which to stake the future of Yves Saint Laurent, that’s another kind of problem.