As a student and during my early years as a researcher (not a very long time ago!), I tended to be quite suspicious of the internet. Online resources were not always well developed and except for a few museum’s websites, I would mistrust information found on the web: I would only rely on books! I have, fortunately, since, learnt to see online information as an ally as long as I know how to sort out the material.
In France, fashion and costume museums are late: their websites present little are no patrimonial documentation. Les Arts Décoratifs do propose about 2000 objects within their database and are a future partner of the Europeana Fashion project whilst the Musée Galliera does not even possess a proper website.
I was therefore thrilled to learn that the Fondation Pierre Bergé – Yves Saint Laurent is working on the digitization of their documentation. Little by little, all the fashion drawings, costume projects, posters and spectacle décors will be online. For the moment, you can find the exquisite Paper Dolls imagined by Yves Saint Laurent between 1953 and 1955. A fantastic resource!
As a teenager, the couturier imagined his ideal fashion house, ‘Yves Mathieu Saint Laurent Couture Place Vendôme‘: his models are paper dolls for which he imagines garments and accessories. He also details collection programs that precise who are the textile suppliers and that the models’ hair is done by Carita and make-up by Elisabeth Arden. It is quite amazing to observe how a childlike game can reveal itself as very serious and herald a future fruitful career.
The foundation, now, possesses 11 dolls, more than 400 paper garments and more than 100 accessories and the online category enables visitors to dress up these dolls: a playful and pedagogic way of discovering the collection.
You can also browse through a few of the designer’s posters and drawings that highlight Yves Saint Laurent’s creativity and artistic sense that did not confine itself to fashion only.
Whilst working for Christian Dior, in 1956, Yves Saint Laurent imagined a cartoon for adults, entitled ‘La Vilaine Lulu‘ (Naughty Lulu) who enjoys being provocative and cruel: a humorous work that was published in 1967. You can discover on the foundation’s website 10 little illustrated stories.
Finally, are visible costume designs conceived for Jean Seberg in Moment to Moment, Sophia Loren in Arabesque, Catherine Deneuve (his favourite!) in Belle de Jour, la Chamade and La Sirène du Mississippi and Anny Duperey in Stavisky.
It’s always fantastic to observe the preparatory work prior to the making of a film. I haven’t seen all the films cited but a few, Belle de Jour , La Sirène du Mississippi and Arabesque: it eases the experience. You can guess behind the pencil sketch, the actress’s figure and character; you can affix the tones and the environment…
I imagine this section is in the making as it is still very poor and lacks further information about the costumes and films themselves; I hope this category will be fed in the future to add a touch of celebrity glamour to the website!
The fashion section has not been started yet and I cannot wait for it to be online: that will be the ultimate resource!
When I was in charge of the organisation of Guy Laroche’s archives, rummaging (that is the exact term! Drawings had all been thrown into boxes and had been sleeping there for more than 10 years) through the sketches and classifying them: I truly sensed the worth of illustrations. Not that I hadn’t before but I was quite an object-obsessed! I needed three-dimensional objects to comprehend a trend or a history and to me, drawings only completed the information. At Guy Laroche, I had no objects to rely on, illustrations and (hopefully!) a few photographies were my only resources. At that point, I started treasuring these documents, understanding the primary data they would diffuse and today, I still need an object because I esteem ‘the finished product’ but I definitely value these handmade elementary resources.
The foundation’s online archives are not perfect right now: the digitalization is an ongoing process so I imagine that justifies the lack of explanations along certain documents. I, however, find the site very aesthetic and easy to use (especially the Paper Doll section). I don’t know if, once the site is completely achieved, there will be more interaction between the objects and the categories but I do hope so: a method that will enable visitors to stumble upon archives they had not previously planned to research!
I tried to switch on the English version to test it for you but it didn’t seem to work: a momentary problem? The translation has not been done yet? I’d be curious to know whether, despite the website may only be in French at this time, it is useful and valuable for English speaking-only users. Let me know!
What do you think of online resources? Are you like me a few years ago: a book-only researcher? Do you practice both?
I secretly wish that in the future, the foundation would also digitalize photographies of its collection of garments: therefore, this online resource will be mere perfection! Do you agree?