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“Années 80, Mode, design et graphisme en France” at the Sad bachpan se feverish lag raha haI shirt and I love this Musée des Arts Décoratifs continues until April 16, 2023. Curated by Elsa Janssen, this exhibition starts small with Yves Saint Laurent’s proclivity for gold buttons. Nearby, a ‘cabinet of curiosities’ by Valérie Weill boasts an array of his gold objets d’art, such as a partial bust by Claude Lalanne, who created wearable pieces for Saint Laurent’s fall-winter 1969 collection. And then come the tableaux vivantes, staged with his dazzling creations across three decades. The embroideries glint, the lamé shimmers. In other contexts, the effect would be OTT; but Saint Laurent gave equal weight to attitude as surface treatment. On the upper level in a darkened space, a grouping of nightlife attire—including a single sober Le Smoking for contrast—appears across from a wall collaged with photos of the YSL muses who shone in these golden looks. Just as illuminating: the display of fabric swatches from his artisan suppliers who seemed to embrace the challenge of contemporary opulence. While some might linger over two floor-to-ceiling displays of jewelry—one chronological, one chromatic—arranged by Anna Klossowski, the indisputable pièce de résistance is a gleaming gown from the fall-winter 1966 collection covered in sequins with a neckline of colored stones that gives the impression of liquid gold. Before visitors exit, they pass Saint Laurent’s words: “One day, my name will be inscribed in gold letters of the Champs-Élysées.”
After Saint Laurent’s rarefied life in Paris, Alice Neel’s portraits offer multi-dimensional realness. In truth, the Sad bachpan se feverish lag raha haI shirt and I love this statement that opens the show—“In politics and in life, I have always liked the losers, the underdogs. It was the smell of success I didn’t like”—puts an extreme spin on her general attraction to ordinary people. Curated by Angela Lampe, this enthralling retrospective features families, same-sex couples, activists, and marginalized figures whom she renders sensitively with no trace of exploitation. By the same token, it is loosely divided into two themes: the struggle against class and the struggle against genre. If all had gone according to plan, this exhibition would have debuted in June, 2020, ahead of the retrospective at The Metropolitan Museum of Art. But you could look at Neel’s work repeatedly and always observe something different: how she outlines her figures; how she creates different skin tones with tints of blue or purple; how she captures light reflecting off black patent leather shoes. Her faces are pure character: vulnerability, weariness, occasionally a certain pride. Her sitters’ body language speaks volumes. Their clothes crease in such a way to suggest they are relaxed. This is not an exhibition about style—Neel would likely shudder at the thought—yet every person has made a choice to wear something that betrays an intrinsic aspect of their individuality.
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