Yves Saint Laurent had many muses, but only one Marrakesh, the city where he discovered light and color, draping and caftans. There, in a series of homes — of which his final and most notable was the opulent Villa Oasis — Saint Laurent sketched some of his best designs (and hosted some of his wildest parties).
This October, some 50 years after the designer’s first visit to Morocco, a state-of-the-art fashion museum honoring his oeuvre will open just steps from the Jardin Marjorelle, the villa’s botanical escape-cum-tourist attraction. The new, 43,000-square-foot building, designed by the Paris-based firm Studio KO, will house thousands of articles of clothing and haute couture accessories, all carefully selected by Pierre Bergé, Saint Laurent’s partner in business and in life. Expect to see such iconic pieces as Le Smoking and the safari jacket, but not an exhaustive retrospective. (A sister museum, Musée Yves Saint Laurent Paris, opening in YSL’s former atelier on 5 Avenue Marceau a few weeks prior, will fill that role.)
“Here, we wanted to explore the spectacular and fantasy side of the work,” says Madison Cox, vp of the Fondation Pierre Bergé-Yves Saint Laurent and director of the Jardin Marjorelle. Confections like a scarlet faille couture cape embroidered with purple and hot-pink bougainvillea and an African-inspired beaded minidress from the 1967 Bambara haute-couture collection will hang in the permanent exhibition hall. Elsewhere, original scenography incorporating “floating voices, quotes, images and film snippets” by the French architect and set designer Christophe Martin will add a sense of “magic,” says the museum director Bjorn Dahlstrom.
No less expressive is the building itself, with both modern and traditional Moroccan influences (locally-sourced terrazzo, red brick latticework, bush hammered concrete) and a curved facade that mimics the folds of fabric. “We designed it like a sculpture; a game of volumes and heights,” Studio KO co-founder Olivier Marty says of the space, which will feature a bookshop, research library, auditorium and a cafe serving French-leaning fare with a terrace overlooking a reflection pool. Inside, light streams through stained-glass windows inspired by Saint Laurent’s love for Henri Matisse — blues and greens on one side of the entrance hall, reds and tangerines on the other. “He’s Marrakesh and Paris. He’s color and black, masculine and feminine, the line and arabesque,” says Dahlstrom. “Together, it’s essential YSL.”
Article courtesy of New York Times Style Magazine