You don’t have to be fashion savvy to recognize his name (although pronouncing it is another issue). His designs are seen on red carpets & in high fashion magazines, which deems him one of the world’s most iconic fashion designers. Yves Saint Laurent is not just a man; he is a brand, a lifestyle, and evidently, one tortured artist. Director Jalil Lespert bravely chooses to shed light on a man whose public persona is much different than his private life, whose insecurities and demons are exposed in the biopic Yves Saint Laurent.

At the start of his career, Yves Saint Laurent (Pierre Niney) tirelessly works as an apprentice to one of Haute couture’s most famous designers, Christian Dior. Wise beyond his years, twenty-one-year-old Laurent shows signs of great potential early on. The untimely death of Mr. Dior in 1958 brings attention to the young assistant; all eyes are on him to carry on the Dior legacy, if he is willing to accept the life-changing responsibility. Without hesitation, Laurent accepts and immediately begins working on his debut collection. Doors of opportunities open for the young Laurent immediately- his once peaceful life shifts into one of wild parties, drugs, stress, and dysfunctional love. His fateful introduction to Pierre Bergé (Guillaume Gallienne) affects Laurent both personally and professionally; their love/hate relationship exceeds throughout their lives, making for one beautiful, yet tragic story.

The lack in storytelling is made up for in the film’s aesthetic… the visuals of the city and the costumes are jaw dropping.

Unfortunately, Yves Saint Laurent is not as successful as the man himself, as the film’s rushed story lacks a cohesive theme or point of view. Scenes play as too contradictory with emotions ranging all over the place- specifically between Laurent and Bergé’s schizophrenic 180-degree relationship. I know there is such a thing as a “lover’s quarrel,” but in every scene? Without resolving the problem, the characters seem to just kiss-and-make-up for the sake of moving the story along. That’s another thing to note, there is a lot of kissing.

The lack in storytelling is made up for in the film’s aesthetic, although that doesn’t excuse the rudimentary script. However, the visuals of the city and the costumes are jaw dropping. The coloring makes the film look like the pages of a glossy magazine, an appropriate and deserving look to such a vibrant film.

Yves Saint Laurent is reminiscent of Woody Allen’s Midnight in Paris; we find Laurent befriending the youthful looking Lagerfeld, Dior, and Warhol, whose characters are only on screen briefly. Having Paris as the backdrop to any film adds the subtextual element of sensuality and creativity, especially Paris in the 1960’s. The atmosphere is nothing short of inspiring.

Even with its flaws, Yves Saint Laurent is a satisfying film on a purely visual level. Don’t expect an award-winning screenplay, you won’t find it here, but what you will find is a stimulating homage to one of the world’s most renowned fashion designers.

https://www.youtube.com/watch?v=TMZGEA6M8jY