Yves Saint Laurent\u2019s use of the \u2018exotic\u2019 was deeply rooted in the French artistic and literary tradition of orientalism. Within this tradition, clothing—punctuated by distinctive accessories, prints, and vibrant colors—plays a crucial role in creating an exotic fantasy that is immediately recognizable to a western audience. Saint Laurent turned to \u201cexoticism\u201d during the 1960s in order to challenge the traditional evening gown. By the mid-1970s, he was using the exotic to inform some of his most opulent and fantastical creations, such as his \u201cBallets Russes\u201d and \u201cOpium\u201d couture collections. \u2026 During this period, Rive Gauche was Saint Laurent\u2019s laboratory, a place where he could experiment freely with new themes and ideas.<\/p><\/blockquote>\n
![\"Yves](\"http:\/\/exhibitions.fitnyc.edu\/blog-ysl-halston\/wp-content\/uploads\/sites\/15\/2015\/03\/2014.15.5_20140707_01_1024.jpg\")
<\/a>Yves Saint Laurent evening ensemble, green and silver brocade, 1964, France, 2014.15.1, gift of Cristina Noble<\/p><\/div>\n<\/p>\n
In the book<\/a> accompanying the exhibition, curator Emma McClendon discusses ensembles from MFIT’s permanent collection: <\/p>\n \nThis evening ensemble, for example, from the winter collection of 1964, evokes the style of a sherwani<\/em> coat worn by men in India, with its front button closures, vibrant brocade textile, and overall silhouette. Likewise, Saint Laurent\u2019s early interest in folkloric traditions can be seen in the elaborate patchwork skirt of this couture ensemble from 1969.\n<\/p><\/blockquote>\n Yves Saint Laurent evening ensemble, multi-color silk organza, satin, and taffeta, 1969, France, 75.108.9, gift of Stella Fischback<\/p><\/div>\n<\/p>\n McClendon continues:<\/p>\n This early experimentation in couture resulted in a rich lexicon of exotic-style separates that became part of Saint Laurent\u2019s signature style during the 1970s. His exotic essentials included peasant blouses, tunics, pajama sets, harem pants, and a multitude of ethnically inspired accessories.<\/p><\/blockquote>\n Saint Laurent Rive Gauche evening caftan, black rayon velvet and gold lame, 1976, France, 88.81.1, gift of Paloma Picasso Accessories<\/p><\/div>\n<\/p>\n Saint Laurent Rive Gauche ensemble, red, white, and blue cotton, 1977, France, 81.218.4, gift of Mrs. James Levy<\/p><\/div>\n<\/p>\n McClendon points out fashion historian Florence M\u00fcller’s assertion that, \u201cSaint Laurent\u2019s travels were essentially imaginary ones, those preferred by a resolutely stay-at-home man.\u201d1<\/strong><\/span><\/sup><\/a> Yves Saint Laurent’s “exotic” was an imaginary creation, crafted from an assemblage of French literary and artistic allusions. McClendon: <\/p>\n Halston and Saint Laurent arrived at the exotic from very different directions: Halston looked to the dress of non-Western cultures to expand his methods of construction. Saint Laurent, however, viewed the exotic through the thick lens of French culture, and used it to transform the look of his clothes through multifaceted bricolage<\/em>.<\/p><\/blockquote>\n<\/a><\/a><\/a>