Ever wondered which films truly immortalized Saint Laurent’s iconic designs? From timeless elegance to audacious statements, cinema has been a captivating canvas for the brand’s most memorable fashion moments. Dive into the cinematic history of Saint Laurent’s influence and discover the looks that left an indelible mark on screen. Which film do you think best showcases their legendary style?
The indelible mark of Saint Laurent on the silver screen transcends mere costume design, cementing the luxury maison’s legacy as a true architect of cinematic style. From the deceptive primness of Belle de Jour’s peacoats to the dramatic, puff-sleeved creations gracing Isabelle Adjani in Luc Besson’s electrifying ‘Subway’, Saint Laurent fashion has consistently defined and elevated pivotal on-screen moments, weaving itself into the very fabric of film history.
Perhaps the most iconic collaboration remains with Catherine Deneuve in Luis Buñuel’s seminal 1967 drama, ‘Belle de Jour’. Here, Saint Laurent crafted a meticulously designed wardrobe for Séverine, embodying her dangerous duality. The glossy vinyl coat, the pristine tennis whites, and the black minidress with satin details became synonymous with her delicate yet impossibly seductive character, establishing an enduring benchmark for film costumes that remains startlingly modern even after five decades.
Deneuve’s muse status for the designer continued in Alain Cavalier’s ‘La Chamade’, where her character, Lucile, exuded glamour and poise in buttery trench coats and plaid skirts. Similarly, in François Truffaut’s beguiling crime saga, ‘Mississippi Mermaid’, Deneuve’s refined yet dramatic ensembles from Saint Laurent’s Rive Gauche spring/summer 1968 collection solidified her as a quietly powerful femme fatale, showcasing a range from ruffled florals to a sequined bodysuit that challenged conventional notions of cinematic elegance.
The quintessential Saint Laurent aesthetic also found its perfect embodiment in Romy Schneider’s Lily from Claude Sautet’s tense noir, ‘Les Choses de la Vie’. Her jewel-toned velvet dresses, delicate ribbons, sheer tights, and a PVC coat echoed the brand’s signature blend of sumptuousness, structure, and undeniable sexiness, perfectly capturing the allure of a woman entangled in dangerous schemes while wafting through crowded parties with effortless chic.
Moving into the vibrant 1980s, Luc Besson’s action-packed thriller, ‘Subway’, presented another unforgettable Saint Laurent moment through Isabelle Adjani’s portrayal of an unhappy trophy wife. While her sharp, hard-shouldered suiting made a strong statement, it was her black tulle ensemble—layers of ruffles atop a grey taffeta skirt, adorned with diamond bracelets and face-framing earrings—that truly stole the show, proving that even in the most surreal subterranean worlds, Saint Laurent’s artistic vision could command absolute attention and create iconic movie looks.
Honoring this rich fashion history and deep connection to cinema, Saint Laurent’s current creative director, Anthony Vaccarello, has boldly launched Saint Laurent Productions. This groundbreaking film production company, the first of its kind to be run by a luxury maison, aims to unleash experimental new releases featuring costumes meticulously designed by Vaccarello himself. The studio’s inaugural project, Pedro Pascal and Ethan Hawke’s queer western ‘Strange Way of Life’, premiered at Cannes, followed by Jacques Audiard’s surreal musical ‘Emilia Pérez’, David Cronenberg’s arthouse horror ‘Crimes of the Future’, and Paolo Sorrentino’s Naples-set ‘Parthenope’.
Further solidifying its innovative presence, Saint Laurent Productions is now making a significant debut with Jim Jarmusch’s highly anticipated ‘Father, Mother, Sister, Brother’, starring Cate Blanchett. This latest venture underscores the maison’s commitment to not just influencing but actively shaping the future of film, ensuring that Saint Laurent continues to define luxury fashion and cinematic style for generations to come, enriching the ongoing dialogue between high fashion and the moving image.
