Christian Dior by Yves Saint Laurent 1960 Blue Dress and Jacket Suit

French fashion designer Yves Saint Laurent pioneered “cross-design” in fashion, taking inspiration from street trends to modernize haute couture.

Saint Laurent was the first to launch a ready-to-wear label, YSL Rive Gauche Prêt-à-Porter. He was the first couturier to open boutiques for both men and women. Using traditional menswear fabrics and designs for women, Saint Laurent also literally cross-dressed, giving men and women alike chic pant suits, elegant tuxedo jackets and urban safari gear. By blurring gender-specific design, he empowered individual style while creating a scissor-sharp fashion aesthetic of sensual ease and beauty. Many of his designs are today considered timeless classics. Saint Laurent also consistently used Black models, like Mounia, Iman and Naomi Campbell, and he drew endless inspiration from different ethnicities and cultures, in no small part because of his Algerian roots.

Born to French parents in Oran, Algeria, in 1936, Saint Laurent went to Paris at age 17 to study fashion at the Chambre Syndicale de la Haute Couture. Just two years later, in 1955, his remarkable sketches were shown to Christian Dior, then the world’s reigning couturier, who hired him immediately.

Surprisingly soon thereafter, Dior publicly chose Saint Laurent as his successor, which sadly proved prescient when the fashion legend died unexpectedly, in 1957. A mere slip of a youth, the 21-year-old Saint Laurent was nevertheless up to the challenge. He shook the traditional couture clientele to its core with youthful silhouettes and styles like the A-line trapeze dress that hung with seeming effortlessness from the shoulders, the antithesis of the pinched waists and molded skirts that had been all the rage after the deprivations of World War II.

After a mandated spell in the torturous French military, Saint Laurent suffered a nervous breakdown and was dismissed by Dior in 1962. Out of the ashes rose the Age of Yves. With Pierre Bergé, his then-lover who became his lifelong business partner and friend, the designer founded Yves Saint Laurent YSL to encompass prêt-à-porter, or ready-to-wear. In 1966, they opened the first YSL Rive Gauche women’s boutique in Paris, followed soon thereafter by YSL Rive Gauche for men. Saint Laurent had given birth to a global brand.

His revolutionary Mondrian mini dress from 1965 is a core element of his fashion biography. It is a prime example of how Saint Laurent, an avid art lover and collector, looked to painters, from Goya to Picasso, Ingres to Matisse, for inspiration.

With its pure lines and hues, Mondrian’s ground-breaking 1935 color-block painting Composition C transmutes beautifully into a dress that is highly valued by collectors of contemporary fashion and widely copied commercially to this day. The design is the epitome of Saint Laurent’s aesthetic, requiring a meticulous hand piecing of each color block so that, despite the body’s curves, the visual plane is as flat as a canvas when the garment is worn. Mondrian’s purity met its match in Saint Laurent.

“I am no longer concerned with sensation and innovation, but with the perfection of my style,” Saint Laurent said four years before retiring, in 2002. After a long period of ill health, he died at his home in Paris on June 1, 2008.

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When Christian Dior launched his couture house, in 1946, he wanted nothing less than to make “an elegant woman more beautiful and a beautiful woman more elegant.” He succeeded, and in doing so the visionary designer altered the landscape of 20th century fashion.

Dior was born in Granville, on the Normandy coast, in 1905. His prosperous haute bourgeois parents wanted him to become a diplomat despite his interest in art and architecture. However, they agreed to bankroll an art gallery, which Dior opened in 1928 in Paris with a friend.

This was the start of Dior’s rise in the city’s creative milieu, where he befriended Pablo Picasso and Jean Cocteau. After seven years as an art dealer, Dior retrained as a fashion illustrator, eventually landing a job as a fashion designer for Robert Piguet, and in 1941, following a year of military service, he joined the house of Lucien Lelong. Just five years later, with the backing of industrialist Marcel Boussac, the ascendant Dior established his own fashion house, at 30 avenue Montaigne in Paris.

Just two years after the end of World War II, the fashion crowd and the moribund haute couture industry were yearning, comme tout Paris, for security and prosperity, desperate to discard the drab, sexless, utilitarian garb imposed by wartime deprivation. They needed to dream anew.

And Dior delivered: He designed a collection for a bright, optimistic future. “It’s quite a revolution, dear Christian!” exclaimed Carmel Snow, the prescient American editor-in-chief of Harper’s Bazaar, famously proclaiming, “Your dresses have such a new look.” The press ran with the description, christening Dior’s debut Spring/Summer haute couture collection the New Look. “God help those who bought before they saw Dior,” said Snow. “This changes everything.”

Dior’s collection definitively declared that opulence, luxury and femininity were in. His skirts could have 40-meter-circumference hems, and outfits could weigh up to 60 pounds. They were cut and shaped like architecture, on strong foundations that molded women and “freed them from nature,” Dior said. Rather than rationing, his ladies wanted reams of fabric and 19-inch waists enforced by wire corsets, and the fashion world concurred. The debut got a standing ovation.

In the subsequent decade, Paris ruled as the undisputed fashion capital of the world, and Christian Dior reigned as its king. With the luxuriously full skirts of his New Look, suits and his drop-dead gorgeous evening dresses and ball gowns worthy of any princess, Dior gave women the gift of glamour they’d lost in the miserable years of war.

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