Saint Laurent (2014) - full transcript

Yves Saint Laurent's life from 1967 to 1976, during which time the famed fashion designer was at the peak of his career. - stop by if you're interested in the nutritional composition of food


(IN FRENCH) Hello, sir.

YVES: You have a booking for Mr. Swann.

Yes, indeed.

May I pay in cash?

Certainly, Mr. Swann.

In Paris for business?

No, to sleep.

Thank you.


Hello, this is Yves Saint Laurent.

I'm calling as I've decided
to do your interview.

Yes, I'm ready.

You know,

16 years ago, in the Algerian War,
I was committed.

The army doctors sedated me so much,
I became hooked on tranquilizers.


They gave me electroshock therapy too.

It was hell. I was with genuine lunatics.

Some wanted to touch me
but I didn't let them.


In two months, I used the toilet once,
I was so scared.

By the end, I weighed only 35 kilos.

And I had disorders.

Yes, disorders.










Can you note this please?

For the neck, 30 centimeters.

Bust, 80 centimeters. Waist, 60 centimeters.

-WOMAN: Which model?

Number 28.

I'm on number 17.

When do we do 287

They're asking for it.

See Mr. Jean-Pierre.

Where is he?

He's taken number 29.

He'll be back.

It's taut. Too much tension in the lining.

I just continued Madeleine's work.
I didn't sew it like that.

I don't want to know. Undo it and redo it.


Ah, Mr. Saint Laurent has his music on.

Put it on a Stockman.

Mr. Saint Laurent wants more lapel

and more overlap to give it volume.

Do the fabric mock-up in organza.

He wants a satin backing.

WOMAN: Yes, Mr. Jean-Pierre.

JEAN-PIERRE: Do the threads.
I'll be back in 10 minutes.

-WOMAN: That's not possible.

I have to redo the front panel and cut it.

It will alter my neckline and the buttonholes.

I know.

10 minutes...

I'm not Houdini's wife.

-Very funny.

WOMAN: 180 hours of work wasted...

What can't you do?

Get the tension right.

I've tried it four times now.

-You have to manage, you'll delay everyone.

Silence, please.

Yes, Madame Munoz.

Too complex. It has to be simpler.

Wait. Remove them.

Tug on them.

That's it.

As short, neat and precise as a gesture.


Let's find a more muted satin

or a satin backing to avoid glints.

MUNOZ: Canvas the backing.

Mount it on organza.

Quickly, please.

It will drape better.

I'll see to it right away.

Thank you, sir.

Do you need anything, sir?

YVES: No, thank you.



MUNOZ: Try the fabric from
yesterday's design on Michelle, please.


There are Deneuve's costumes
for the Cavalier and Truffaut movies.

Doing all the fittings at once
would be too simple.

Francoise Hardy's show
can wait until the 28th.

Sylvie Vartan would like something too
but in September.

The urgency, Yves, are the designs

for the play L'amante anglaise by...

Marguerite Duras.

MUNOZ: We have to arrange fittings.

Maybe between the photos on the 14th
and the spring-summer designs.

I'll ask Jean-Pierre.

We need the spring-summer designs
by December 20th.

They can make the patterns
between January 1st and 20th.

Some chocolate mousse?

No, thank you.

For autumn-winter,

we'll want the designs by the end of June.

They'll need you for fittings
around July 20th,

with the show
between August 25th and 30th.

Therefore, you can

begin spring-summer haute couture

after completing ready-to-wear
in December...

Can't you let me listen to the music, please?

WOMAN: It gives the impression,

as you say in America,

that being beautiful

is the most important thing
in a young girl's life.

They take it further in America

by giving the impression

that if you're beautiful, you're happy.

And, in young girls' minds...

Here, Kikou...

A chocolate religieuse.

I'm not hungry. I'm beat.

If happiness is beauty,
one does all one can to be beautiful.

It becomes very superficial
and, if the girl is already pretty,

she has temptation all around her,

and, instead of thinking,
instead of studying,

instead of knowing solitude...


I'd like you to work for me.

BETTY: I model for Chanel.

I don't care.
I'd like you to present a collection.

I can't.

I'm asking you.

I can't.

I'm asking you.

I can't.

I'm trying to fart but I can't.


Quiet, the situation is serious.

How do you feel?

BETTY: As comfortable as in pajamas.
Pajamas to go dancing in.

YVES: It's divine on you, Betty.

BETTY: You should try it too.
I'm sure it would suit you.

Thank you, Colette.

Walk now, Betty. Walk.

PIERRE: It's magnificent, Yves,




People will love it.

Oh, you know, people...

They forget. So Marlene...


I love your tuxedo.

I love the Mondrian dress.

Fashion is as fleeting as advertising,

that's what makes it sublime.

on opposite sides of the ocean,

are the two great artists
of the second half of this century.

And yet, art no longer interests me.

It's become so terribly boring.

But maybe today becoming famous is
the greatest art of all,

and you and I
are both fabulous at that.

Because we both love fame.

I want you to make dresses
with cheap soup

and I want to make paintings
the way you make dresses,

the way we watch TV.

Today only cinema, music, and advertising

show any ingenuity.

That's why I enjoyed so much
producing this band,

which is the most creative and refreshing
thing I've heard for a long time.


I love the Mondrian dress

but why haven't you made
the Warhol dress?

Because it can't be made.

When you achieve it,
you'll be, in my eyes,

one of the great geniuses
of this fin de siécle.

With all my admiration,

Andy Warhol.




YVES: Let's go to Régine's in disguise
and terrorize everyone.

That biker movie everyone's going to see...

Know the one I mean?

The whole movie is bikers in a garage,
dressed in leather.

All they do is work on their bikes
like mechanics.

No story, no dialogue...

I forget who made the film.

Let's see it. It sounds fun.

My Bergé...

I love you but I won't follow you blindly.



You can vanish here too without realizing it.

What would you do?


Perfect. I'll come and help.

Only money and his power interest him.

When he arrives,
you can hear his balls knocking.

He's a monster.

Do you know why?

Because he's ugly!

He has a hang-up about his size
and his big nose.

I'm 33 and I feel 100.

I've had no life. I'm old.

I have no life.

I have to go and do the finishing touches.

What are you doing?

I'm dancing.















(SOBBING) cherry pie Americans taught
the black people to be violent.





I saw.

I'll wait for you in the lounge.

The turban?

LOULOU: The flea market.

The jacket?

Ossie Clark.

The skirt?

My mother.

The blouse?

-The flea market. In London.

YVES: The bracelet?

A napkin ring pinched from a restaurant.

-YVES: And that silly first name?

No one can manage
Louise Le Bailly de La Falaise.

So Loulou is simpler.


The freckles?

Ireland. On my mother's side.

The posh accent?

My father.

The Count.

The shoes?

-The Clignancourt flea market.

-It's a complete mess but I love it.

Hello, Mr. Saint Laurent.

WOMAN: I'll fetch your coat.

YVES: Give me all my coats.

This one...

That one...

Those at the back too. I'll take them all.

Even the copies. I'll burn them all.



The final scene from a musical

that I'll stage in Paris,
London and on Broadway.

It's called Vicious.


It's set in New York

in a completely underground world
already verging on the popular.

-I, Samantha...

...go on with a huge chorus of women

who all work in fashion, of course.

All dressed as endives in tribute
to our friend Endive Warhol.


Opposite her, opposite Samantha,

there's a man.

And what a man he is!


-Of course!




He stood up as I approached

Once up, he was smaller

! told myself
It's in the bag!

That cutie there is for my bed!

He only came up to my shoulder...





-YVES: Look how beautiful she is.

Champagne makes you say sweet words.

Not at all. You don't realize.
One wouldn't see that in Paris.

-You don't see how ugly the street is.

Hideously ugly.

The end of civilization, the collapse,
the decline, that's what we're seeing.

PIERRE: (LAUGHS) You complain,
but you dress the world.

I don't complain.

If we must go on,
let's do something important,

rather than stupidly sell
just anything anywhere.

It's as if I were modeling nude,

so we'll see what happens.

-If the dresses don't sell, we'll sell the firm.

You all heard.
Yves is ready to drown our child.

Let him suffocate.
Let his body float like a jellyfish.

Yves, you're worse than Callas.


LOULOU: It's true.
The French are so melodramatic.

I'll make cocktails.

Champagne for me.


YVES: If you go to the sea

and follow the coast to the rising sun,
you reach Oran.

That's where I grew up.

There are no palms in Oran. No trees.

Nothing but heat and light.

The houses are much lower.

But the smell is the same.

-The smell and the colors too.

That was the first thing
that struck me in Marrakech.

Everything came back to me.

Drawing here is amazing.

All those feelings coming back...

In Oran, I'd spend my time
trying to find Y-shaped pieces of wood.

I thought they'd bring me luck.

I was bored more than anything.

Even so, Mother and I were always
being silly, playing tricks all day.

She'd throw huge parties.

The ladies would arrive in fur coats...

Astrakhan, fox...

And their dresses, so 1940s...






PIERRE: Kikou!

Loulou has left a present for you.

What is it?

A surprise.


What is it?

I'm not allowed to say.

It's in the closet.


There. At the back.

Oh, no!

Pierre! Let me out!


I have work to do, Pierre!

Let me out.

-No. You're being punished.

Open up!

Stay there until tomorrow.

This isn't funny.

Will you let me out?

PIERRE: It's unlocked.




How ! wish I could have made you happy

and made the Andy Warhol dress.

{ want it to be modern
and I think I succeeded.

I did what I had to do.

But now that's no longer important to me.

I just want to make the Saint Laurent dress.


WOMAN: (IN FRENCH) Number 1.

Number 2.

Number 4.

Number 5.

Number 33.

Number 34.


Number 35.

Number 36.



Number 37.



Number 38.

- I quit!

Manage on your own! I quit!


PIERRE: Do you need to drink so much?

It helps me think.

PIERRE: By the way,

I had a call from Ganz in Bremen.

He's found a silver and gilt bestiary
from the 17th century.


With a swan, a greyhound,

a horse, a unicorn and a stag.

Each one about 30 centimeters tall.

YVES: Buy them, they must be beautiful.

I already did. I just wanted to tell you.

YVES: Wonderful.



What are you doing exactly?

You want a scandal, is that it?

YVES: Yes.



I don't want anyone thinking
I attempted suicide.

I'm ready.

Monsieur Bergé,
on "The Forties" collection...


You mean the "Liberation" collection.

Excuse me, on the Liberation collection.

The risk was huge and revenues
fell from eight million to five.


Revenue fell by 3 million,

to the lowest level since '63,
just before launching "Y".

The risk was huge, but it paid off.

You talk about haute couture revenue.

But the ready-to-wear, "on the street,”

as Mr. Saint Laurent calls it, really paid off.

This year the Rive Gauche boutique

registered sales of 15 million.

In 50 square meters.

It's unheard of.

I see.


Thank you, David.

But I'm just doing what I've always done.

Focusing on location.

PIERRE: (IN FRENCH) I'm told it's too costly
but every time it's a success.

The Cipriani in Venice,

Rue Paradis in Nice,
Rue du Rhone in Geneva,

Fifth Avenue by the park in New York...

Like Caracas, Zurich,

and others.

I'm doing what I've always done,

while seeking to innovate.

Richard, remember what I told you?

At the Ritz bar exactly five years ago.

I told you exactly this...

"Yves will soon be the only one to shine.

"As shareholders,

"we must be as visionary
and ambitious as he is."

We could have done nothing.

Just savored the success
of the Mondrian show.

Customer orders went
from 1.3 million to 2.6 million.

On the buyer side,
from 800,000 to 1.4 million.

Press went wild for Yves all over the world.

We could have just maintained that level,

but no.

We ventured into ready-to-wear.

To take this risk and it was a risk.

When I approached Didier Grumbach
about production,

he said no.


And let me tell you,
now he doesn't regret it.

And what made him change his mind?


WOMAN: We told the press he'd be
in charge of fabrication.

Once it was in the papers,
he had to come on board with us.


Sometimes it's do or die.

MAN: David, you're buying my company.
I'm retired now.

I'm not here this morning
for financial reasons.

I'm here for the brand.

I'm here for Yves.

I held 80% of YSL for nine years.

Nine years of developing licenses,

launching our first perfume, "Y",

launching ready-to-wear
with the Rive Gauche store,

developing American-style franchises,
expanding our stores...

Nine years of setting trends

and doing things never done before
in fashion.

Now, either we stay where we are
or in six months we're 10 years behind,

or we move on to something else.

Meaning what exactly?

Is Yves still making the same dress?

Does he redesign Mondrian?

No. But it is his job to be creative.

It's our job too.


(IN FRENCH) You should learn English,
Mr. Bergé.


I have a lot to learn

but I do know
how to count in English you know.

This year, overall turnover is up by 7%,

with the luxury division at 12%.

That's not what I see.

Your figures don't include Richard's shares.

They're incomplete.

Here's what's missing.

In getting my 80% of YSL,

you get the 50% share

that YSL has in Rive Gauche.

By adding the 40% in profits,
you get the 7% growth.

And Grumbach holds
the other 50% of Rive Gauche?

But in acquiring your group, Richard,
we wish

to follow modern business logic.

I think presenting just one collection

combining haute couture and ready-to-wear

is the safest option.

I'm strongly opposed to it.

Do you realize the impact
haute couture has abroad?

In Japan? In the USA?

We can't rule that out.

While the others carry on selling dresses,

we can sell Yves Saint Laurent.

It's a huge opportunity.

You're already doing that.

Sunglasses, cigarettes, ties...

-You sell his name.
-PIERRE: Not his name.

We sell him, Yves Saint Laurent.

Why do you think the Forties
collection sold?

He's more famous than his clothes.
Look at this photo.

Okay, perhaps. But there's a dozen young
designers on the rise

who are making fashion affordable
and easy to wear.

All the big names in haute couture
are on their way out, Pierre.

(IN FRENCH) Who? Hechter? Cacharel?

Kenzo? The Jacobsons?

You're right.

That's why I plan to found a group

uniting designers and couturiers

to have them represented
in the fashion trade union.

And I'll be president.

And I'm offering to take
haute couture off your hands.

I want Yves and myself

to recover 100% of Saint Laurent.

I want us to get the name Saint Laurent back.

I'm ready to go into serious debt for that.

I'd say that's a pretty illogical decision.

An illogical decision, given the figures.

Perhaps, but it's my decision.

Bear in mind that if you agree to this

you remain the owner of
Saint Laurent perfumes,

and that's where the money is.

So what's the catch, guys?

You'll pay license fees on all sales.

I have a percentage proposal
for you to consider.

You'll find it to your advantage.

One more thing, and it's not negotiable...

You cannot launch any product

without the permission
of the brand's founders.

Of course not,
that's not in our interest.



(IN FRENCH) Can't we continue this
over dinner?

Business is not done in a restaurant,

but in an office. I think we all agree on that.

However, once this is settled,

I'll gladly invite you to dinner, David.

For now, the priority is
getting my name back.

Your name?

Yves name.
Yves Saint Laurent.

Speaking of whom,
been hearing a lot about him lately.

About his health.

Like what?


Don't listen to the rubbish people say.
Yves is perfectly fine.

He works a lot but is in great shape.


Actually, I need more pills.

The blue ones again.

-What were they?

-The same again, then, but stronger.

They help me work.

And others to help me relax at night.

Valium, say.

It won't relax you, it'll knock you out.

Still getting dizzy spells?

-Now and then, before collections.

I have two to do.

I don't have any ideas for ready-to-wear.

I haven't sketched a thing for haute couture.

That's why I need the pills.

I'll give you something
but respect the dosage.

Don't worry,
it's just for the collection period.


Not too much drink either.

Of course, I'm not mad.

YVES'S MOTHER: There's one I like a lot,
about the way you draw.

YVES: I don't draw like Matisse.

You're Yves Saint Laurent
and you'd like to be Matisse?

You can't be Matisse at your age, Yves.

Wait a while.

It takes a lifetime.

I've also found a poem
you wrote when you were little.

"How happy you are!
You need nothing. You have it all.

"Wealth, beauty, youth!

"It's beautiful being that way.

"Yet you're already weary of this life.

"You no longer want it."

I'll put it all in a box for Pierre.


Do you love me?

I hope you like feathers.
I've gone overboard.

You'll see, the dancers are like huge birds.

It should be magical.

With each movement or step,

they look as if they'll leave the world.

Yves, you've left the world.

Why do you say that?

Surely you realize?

YVES: I don't know... No, I don't think so.

Honestly, you have
no more contact with reality.

Look at your life.

You've never been to a supermarket.

You can't change a light bulb.

Why would I need to know
how to change a light bulb?

Because everyone knows how to.

What if one burns out?

Pierre changes it.

What if he's out?

I'll wait in the dark.

I'll do some thinking instead.

You wear me out, Yves.



The dog's the new trendy accessory.

BETTY: Even a dog deserves love
and consideration.

Leave me be.

MAN: I don't get it.
You send me 10 letters yesterday.

You say you're mad about me.

(KISSES) Go on, take a bow.

-LOULOU: Look out, Yves, ostrich attack!



Yves, come and take a bow.

All right, but with my dog.






Jacques de Bascher de Beaumarchais.

Yves Saint Laurent.

MAN: It's a French product,
entirely made in France.

You're going to ask me what it's made of.

Looking at it, you're intrigued.

It's wax cloth that has been varnished.

You can't tell
because it's worked like leather.

We made them wide

to fit the Saint Laurent logo
between the straps.

In the middle.

You mean the initials YSL?

Yves, it's Madame Duzer's fitting.

YVES: I'll be right there.

Yes, the initials YSL.


We may sell the brand
to Mr. Saint Laurent's brother,

Victor Saint Laurent.

Then the logo would be VSL.

But that sounds like "vaisselle,"
crockery in French.

My sister was a possibility
but her name's Véronique,

so the problem remains.


In any case, my friend,
to make "Saint Laurent,"

you've a long way to go.

It's good.

Does it really suit me?

It seemed much less masculine

when I saw it the other day.

It may seem masculine
but it will give you amazing allure.

-You'll realize that when you move in it.

Here, try this.

Are you sure it's the fashion?

This is style.

Fashion passes like a train.

Maybe we need something...

Perhaps a brighter belt.

Yes, a little sparkle.


In any case, it's such a joy

to have you to myself for a while.

To catch up...

I'm doing poorly, you know.

It's hard working all the time.

There's the move too.

You know we're leaving Rue Spontini?

I liked it here.

But Mr. Bergé sees things on a big scale.

It's exhausting.

Show me.

Yes, that's better.

It lights everything up.

Show her neck.

I have a short neck.

- I didn't say that.

Over the jacket is better.

LOULOU: Like this?

The hair too, maybe. Let it down.

May I?


Give it a little motion.

Much better.

-This was just delivered.
-Thank you.

Could you walk a little?

Hands in your pockets.

They're real pockets?

Of course.

You can go out
with just your keys and cigarettes.


Relax. Be more lissome.


DUZER: You're right, it's lissomeness.

It's divine.

With a bolder lipstick, you'll look wondrous.

I feel very different.

Thank you. Thank you so much.

I think you're the only one today.

I know, there's no competition.
That's my misfortune.

I've created a monster
and have to live with it.

A beautiful monster.

I must return to my work now.

Thank you, Mr. Saint Laurent.


JACQUES: Don't be afraid.





You see? No names, no words...

Animals, driven by need...

Why not step into the bushes?

I'll join you.




YVES: Good evening.

We're neighbors, from the local fire station.

What's your name?

I'm Pierre.

Pierre Bergé.



People think I don't work but I do.

I inspire Karl.

I've had it made in 12 different shades.

Do you like it?

I'll wear it in beige tonight.

With Karl?


Of course.

YVES: How does he feel
when you're with me?

I don't know.

I think he's pleased.

For me.

For you too.

Even for Pierre, I think.

-Karl is very intelligent.
-Stop it.


A fine collection.

You use them with him?

JACQUES: No, we don't do
that kind of thing with Karl.

Do you want one?

Thank you, but I have my own.

Pierre calls them the Olympic rings.

-You look like a Weimar Republic gentleman.

At least they knew how to dress.

For a funeral or a picnic,
nothing but silk ties,

wing collars,

a neatly tapered waist...

Not what you see these days.

Now you're dressed, what do you do?


JACQUES: I undress.

Tomorrow evening? I forget.

This week is very...

Check with... All right, good job you're here.

Has everyone been served?

I'm sorry, I didn't want to cry
in front of you, sir.

-YVES: Don't be sorry, Madeleine, please.

Don't you have the pill now?

(VOICE BREAKING) Of course, if you take it.

But it's not obligatory.

YVES: When will you do it?

(INHALES) Next week, sir.

Here, Madeleine.

Thank you, sir. Thank you so much.

But it costs much less.

Keep it, for other expenses. For the journey.

I'll only be gone a few days.

YVES: Dry your tears. Everything's all right.

Let's have lunch.

It's my favorite dish.

I have it when I go home to Alsace.


It's not just from the southwest.

Alsace produces foie gras too.




Perhaps you remember
that afternoon in 1960

at the Val de Grace.

I came to tell you in hospital

that the couture house employing you
had fired you.

I remember your reaction.

"In that case,

"we'll found one together and you'll run it."

After a few months
in that tiny mezzanine on Rue La Boétie,

we moved to these premises
that we occupy today.

The adventure now leads us elsewhere.

But we must remember

that we thought each collection
would be the last

and that we would close Rue Spontini.

Yet we've spent twelve years here.

Twelve years of artistic creation,



and pain.

Madeleine will be away next week.

-I know.
-I'd rather she didn't return.

Very good, sir.

PIERRE: Twelve years that show
how far we've come,

and, above all,
give us a hint of what the future holds.

So thank you, Yves.

Thank you.

You've always been here for women
and will be for a long time.

Thank you.

I'm very happy

to spend these final moments here with you.

Thank you all.

Thank you for your work,

your courage,

your tenacity and your talent.

Without you, I'd be nothing.


I decided in five minutes.

The early '20s fittings were already here.

All these wooden panels
like at Marie-Laure de Noailles'.


I love it.

There's still a lot to do.

800 square meters to furnish
without the garden.

We're looking for Cheuret's cobra tables.

Black marble slabs held up
by three bronze cobras.

Rampant and impressive.

We want some tall mirrors here. There too.

And there, perhaps, a Matisse one day.

That would be fabulous.

That's really you...

-Only calmer.

That's mainly me by Andy Warhol.

The music room is over there.

Lalanne will make 15 mirrors

fitted with candelabra
so we can light it with candles

-as in the Bavarian castles.

And there, perhaps, one day,

a Mondrian.


You know, my Buddha

has always brought me luck.

I've asked Jacques Grange
to give him a special place.

In this alcove.

With my cameo collection.

I'm very fond of it.

Grange finds that
aesthetically incompatible.

But he knows how important it is for me.

He'll come up with something.

On the other side, a library, two bedrooms,

and a study at the far end.

It has to be redone.

Once again, I want the same but new.

And I want to add mirrors.
Banks of mirrors on the walls.

All the walls and the ceiling.

With the effect
of the light and images diffracting.

I want a room of almost infinite scope.


Open your mouth.


(WHISPERING) You really are a spoiled child.

They're just things, Jacques.

I know.


Not the bed. You'll get bitten.

Can't you hear them hissing?

I love you, Jacques.

I love you too.

PIERRE: True, he's not a great artist.

But it's Proust's bedroom. A dealer had it.

I thought you'd be touched.

I like it very much.

Thank you.

True, I like this humility.

Not just the room's, but the artist's too.

He hasn't tried to eclipse his subject.

It's done with a lot of fidelity.


-He wrote before his father's portrait.

Imagine drawing before a portrait of yours?

YVES: No, I'd be terrified.

It makes me want to enter it...

To lie down on the bed...


Don't let him destroy us.




RECEPTIONIST: Certainly, Mr. Swann.


In Paris for business?

No, to sleep.

Hello, this is Yves Saint Laurent.


I'm calling as I've decided
to do your interview.

Yes, I'm ready.

PIERRE: Pierre Bergé speaking.

If you publish Mr. Saint Laurent's interview,

I'll sue you.

For libel and forgery.

It wasn't Yves Saint Laurent.
It was an impostor.

How do you know? Did you see him?

No? Well then.

You shouldn't risk it.

Everything all right, Yves?

Yes. Thank you.

I'm drawing.

JACQUES: That one has tiny balls.

-I love it... Listen to this.

"The guard wears laced, black leather boots.

"They cover the ankle."

Why does that turn me on?

"They swell at the instep,
like those from Delicato Orthopedics,

"84, Boulevard St. Germain."

I love it Why can't I write?

Why can't I write?

"The eyelid seems stitched up,
the nose broken,

"the mouth painted or transplanted.

"The electrode wires are fixed to his wrists
and ankles for 90 minutes.

"Fragile. Synthetic."

BETTY: I don't understand
the words anymore.

JACQUES: So beautiful, you don't need to.

The more splendid you are,
the more lucid you are.

We should have a party
in tribute to Ulrike Meinhof.

She was sentenced yesterday.

A party for her and Baader.

Everyone in black.

Either in leather or mourning.


At the Anvil in New York,
they do fist-fucking on stage.

Humiliation to the songs of Jacques Brel.

I'll try to organize a party like that.

Okay, but tonight,

what can we do to have fun?

Let's drop acid and talk to your Buddha

to learn the truth at last.

Grange has managed to save him.

He put him in the center

and lit all the cameos from behind,

placing them in niches.

It's a lovely effect.

-JACQUES: Screw Grange.

Why didn't he pick me as Buddha?

I want to be your Buddha.

Yves, should I wear such large glasses?

YVES: Careful, they can make shadows
under your eyes.

I think shadows are sexy.










I want to talk to you.

I'm busy.

Playing the gigolo? The little whore?

-I want to talk to you.
-Not now.

Yes, now!

No, Bergé, you're not coming in.





We are above all a pharmaceutical group

known in the USA for our anti-drug stance.

We can't be associated with

the launch of a perfume called

You have to understand that, no?

WOMAN: (IN FRENCH) Sir, the dog breeder...

I'll be right there.

Mr. Saint Laurent?

- I think he's all right.
-Thank you.

You may support an anti-drug campaign,

but you're linked to Yves Saint Laurent.
Remember that.

If you back down

it will make more noise
than a few protesters' flyers.


I think we have them all.

MAN: Here you are, sir.
All between 12 and 18 months.


PIERRE: Maybe,
but he didn't have a patch right here.

-This one, perhaps?

No, Moujik was nothing like these.
Keep looking.

Very good, sir.

Take the dogs out, please.

Yves might have a fatal hallucination.

Is number 18 ready? To check the volume.

Yes, Madame Munoz.

WOMAN: Hello, ma'am.

Am I disturbing you?

A little.

Come up after to look at the bags.

YVES: You never answer my letters
but I don't care.

Do you remember Ali?

Do you remember him the way I do?

One night with an almost full moon,

a building site behind the Gare du Nord.

He had the good manners
of the working class.

His simple trousers and sweater were clean.

But his gestures were dirty.

-Like yours.

When [ think of him, I think of you.

When I think of you,

I think of twenty boys
standing out against the sky.

I think again of Mohamed.

I think again of Claude.

Do you remember him?

That night,

my heart was pounding so hard,
I thought my chest would burst.

I can still hear him undoing his belt,

mounting me,

and penetrating me with blind violence.

I thought it would never stop,
that I would faint.

That I would die on my knees.

I still recall the smell of the ground,

the taste of the soil and stones in my mouth.

Do you truly remember the way I do?

I have the clothes you left on the ground.

Probably so I would pick them up.

I still recall their gaze on me.

I thought I could relax
after they had all discharged,

but the opposite was true.

The very opposite.

I don't know what Pierre said
to terrify you so much,

to make you vanish,

but I shall go on writing to you.

To tell you.

I haven't left him but I'll carry on.

You refuse to see me but I'll carry on.

! returned to the railway station urinal

and I'll return there again,

as I shall to the building site.

I want to see once more
Ali, Claude, Mohamed...

Because Ali and Claude are you.

Mohamed is you.

{ want to see all those I don't know
who'll lead me to the dawn light.

The dawn that terrifies me so.

You see, Jacques,

I love bodies without souls

because the soul is elsewhere.


Mr. Bergé said
to bring this to your room, sir.

Get the hell out!



A bad time, I think.

It's always a bad time.
I have nothing to work on.

-I'll speak to Mr. Bergé. Don't worry.

Hello, Yves.

Hello, sir.

Michele, will you do me a favor?

Of course, Mr. Saint Laurent.

Could you post this for me
discreetly, please?

-All right.
-Discreetly, please.

I didn't speak to you, I gave you nothing.

It wasn't me, you haven't seen me.

I'm no longer here.

Hey, darling.

Where is Saint Laurent?

Where is Yves?

I don't know.

Maybe he's just a perfume now.

His dog is dead.

Too much drugs.


I heard.

It was its relationship with life, you know.

Well, who cares.

I'm cold.

Me too.

I'm naked...

And you're wearing Saint Laurent.

You bitch.

I know.

Get closer, get warm.

I feel stupid,
what are we doing?

We're playing with the masculine codes,

I guess.

The codes of power.



But I feel really stupid.

You're beautiful.

And I'm fucking naked.

MAN: Erika, step back please.


Vibeke, look down...

and think of nothing.

Vibeke, put your leg like this.

Yes, good.

Erika, just come a little closer.

And your head a little down.


Maybe he's dead, you know?

Poor Yves.

He was just a little boy.

-MAN: That's beautiful, don't move.

(SINGING) Honor and loyalty, loyalty

Let us march, legionnaires

In the mud and the burning sand

Let us march
with light souls and brave hearts

Let us march, legionnaires

Everywhere battle rages

We see the 1st Foreign

An example of heroism and courage

Covered in laurels of glory

We're all volunteers...

MUNOZ: Hello, Madame Aillot.

Mr. Saint Laurent is unwell.
He won't be joining us.

But your dress is ready

as per his instructions.

-Lovely, isn't it?
-WOMAN: Perfect.

Shall we try it on?

All right, let's do that.



MUNOZ: I'm sorry.

Mr. Saint Laurent also requires
plucked eyebrows now.


Yes, very good.




The show is approaching.

We have nothing to work on.

Yes, I know.

Isn't this all insignificant?


Sometimes, I close my eyes

and see clothes gliding and floating.

Just shapes and colors in motion in the air.

But when I open my eyes,
I see only heavy, dark things.



MUNOZ: Come on.



Here's Joan Crawford.

Dressed in a terribly boring way.

Forgive me, miss, it's not you.
You're ravishing.

But I'm sick of seeing myself.





There you are.


My dear Christophe, I feel like a monster.

Not at all.

No, you're very handsome.

Can I have the same color
as Johnny Hallyday?


It's not a very nice color, Mr. Saint Laurent.

Do it for me, please.

All right, for you then.

Thank you.

You're a darling.

So are you.

Are you smoking a lot lately, sir?

It depends.

-Here we go. Johnny's color.

Shall I serve you, sir?

Yes, thank you.


Where's Moujik?

BUTLER: Right next to you, sir.

YVES: Oh, yes...

PIERRE: By day, he's fine.
But at night, he becomes horrendous.

Imagine seeing a man
you've loved for 18 years out of control.

I can't bear seeing it any longer.

It's wiser to live separately.

Loulou, he tried to kill me. To kill me!

Last night, you understand?

I won't abandon him,

but I can't bear that life anymore.

I'm doing it to protect myself.

By protecting myself, I can protect him too.

He's just...


...80 incredibly fragile, it drives him mad.


YVES: How happy you are!

You need nothing. You have it all.

Wealth, beauty, youth!

It's beautiful being that way.

Yet you're already weary of this life.

You no longer want it.


RENEE: Look,
it's a lock of your baby hair.

See how soft your hair is?

MAN: (ON TV) Can I write to you?

The maid will send you my address.

Come back soon.

I don't love you, I don't love you...

Come back.

RENEE: Like this?

There. Do you like it?

The neck like this?

WOMAN: (ON TV) / don't love you...

MAN: (ON TV) Come back.

YOUNG YVES: Hands on your hips.


-Turn round.


YOUNG YVES: No, Aunt Renée,
I don't like the dress. You must be perfect.



YVES: It's not so bad here.
They take good care of me.

It's true, they adore me.

They give me all the pills I want.


Uppers, downers...

Pills to travel,

to sleep...

You seem a little better.

YVES: Optalidon.

BETTY: They're crazy,
locking you in the pharmacy.

YVES: Has Pierre had my sketches
brought from Marrakech?

LOULOU: Yes, don't worry.

I wanted to try things.

Go somewhere else.

I think I found grace.

PASCAL: "This exhibition shows
that a couturier can and must be

"an illusionist, a child, an astronomer,

"a simpleton and a genius,

"a Sunday or nocturnal writer,

"an imitator, a tamer,

"a smooth talker, a clairvoyant."

OLD YVES: Hervé Guibert wrote that,
didn't he?

PASCAL: Yes. When was it?

OLD YVES: Five or six years ago.

Shortly after, I started to work

on a collection in chiffon.

It was a few months
before the death of Fabrice,

the owner of Le Palace.

Is Le Palace still open?

Yes, it is.

But it's gone downhill since he went.

-The soul's gone.

Les Bains is boring too.

The music is getting industrial.

-It's like going to a factory.

Do people talk about me as a...

...a has-been?

PASCAL: Why do you ask?

I don't know. No reason.

I feel

as if I've become a nail varnish
in a cheap store...

Or a handbag.

That's not a has-been.

YSL has become interplanetary, that's all.

OLD YVES: Perhaps.

But, right now...

it's more a case of Y... I all alone?


I've brought Voici. Here.

Thank you, that's kind.


I'd like to stop.

But I can't.

Your letter worried me a little.

Yes, I'm sorry.

But I felt really terrible.

I didn't know who else to write to.

-Have you been able to do anything for me?

Of course.

Thank you, Pascal.

Thank you.

What do you want from Friedrich?

MAN: (ON TV) Everything!

You're mad!

I want what's mine!

The time has come to demand it!

WOMAN: (ON TV) / won't let you!

Kneel down!


Ask forgiveness!
Kneel down and ask forgiveness!

MAN: (ON TV) Mother!



WOMAN: (ON TV) He'll ask forgiveness.

He had lost his mind...


Where is it going?

To the Louvre,
for the group's IPO announcement.

Mr. Saint Laurent won't be there?


MAN: Mr. Bergé said his photo
can fill in for him.

Mind the door.

Keep going.

-Tilt it your way.
-Okay, tilt it my way.

Goon, try it.


A couple of inches short...

Mind the door and the boss' head.



JEAN-PIERRE: Nothing like the usual stuff.

I don't understand these sketches.

MAN: The colors...

WOMAN: Look.

MUNOZ: They're very precise in fact.

The sketch shows the motion.

Each line, each color...

It's a complete break.

We'll need other suppliers.

All silk, chiffon, velvet...

JEAN-PIERRE: We won't have enough time.

The cuts are all voluminous.
It's anything but precise.

MUNOZ: True, there are no suits,

but these blouses and skirts need a flou cut.

Madame Felissa
is going to have a lot of work.

He must come to the atelier soon. Can he?

PIERRE: Not right away.

JEAN-PIERRE: He has to come
to choose among these sketches.

PIERRE: Yves wants them all made.

He wants to show them all.

He has big ideas.

MUNOZ: Mr. Jean-Pierre and myself

will be here, entirely available

to make sure that, on his return,

Mr. Saint Laurent
will be proud of his collection.

For him, we must move forward,
outdo ourselves,

understand his ideas...


And give them life.

OLD YVES: I have now decided

to bid farewell to my cherished profession.

I have fought the fight for elegance.

For elegance and beauty.

I have experienced no end of anxiety

and torment.


Sophie, bring me a violet taffeta, please.

SOPHIE: Here, Madame Munoz.


The velvet has just arrived.

Do exactly as Madame Felissa says.

Too many sketches haven't been started yet.
Speed it up.

Cuts on a slant must fall nicely.

Hang the fabrics for two days
before cutting them.

Everything must be nice and loose.

The weight at the bottom.

If not, the weight will fall later
and distort everything.

The velvet must hang perfectly.

Don't touch anything until then.
I'm counting on you.

MAN: Ladies, this way, please.

First the atelier,
before the finishing touches.

The atelier is to your right.

Perfect. Walk now.

People here are 20 meters away.

There's never been such a distance.

Our lighting mustn't blind
the audience and models.

This system lets the models
emerge from the darkness.

Two spotlights.

-The YSL logo.
-That's important.

Music too. Loud music.

-I hear she walks like a goddess.

-I need a lot more.
-I know.

Any others?

That's all for now.

I want her.

This one too.

We need to see the girls doing the show.

From the beginning.

If not, they'll look absurd.

Will Mr. Saint Laurent be there?

NURSE: Your arm, Mr. Saint Laurent.


I'll button you up.

You know,

when you arrived

at the atelier,


You freed me.




my sketches... Completely.

You're a magician, Madame Felissa.

It's not magic.

You just restore the fabric's balance.

That's all.

You're right.

Tell me, do you still receive
Mr. Bergé's checks?

He doesn't forget you, does he?

No, he sends me a check every month.

Good. That's the least he can do.

There are people in the next room.

Yes, my doctors. They're always here now.

In case I fall down the stairs again.

It's tragic.

But I always get back up. (CHUCKLES)

Moujik, my son.

Beautiful, isn't he?

He always has been.

Which one is he?

The fourth.

Moujik IV.


Have you seen this week's Elle?

Jean-Paul Gaultier?

Have you seen
the missile-like breasts he makes?


Your dresses spoke of Proust,
his speak of comic strips.

You have nothing in common
with such people.

You were the first to reveal women's busts.

Now they model naked.

No more emotion.

No more mystery.

I know, I'm the last.

Yet, at the same time,

I don't want to be in museums.

I'm still alive.

But you're already in museums.

I don't like that at all.

It just proves to me that I'm a failed painter.

Perhaps only the '76 collection

was a painter's collection.



Thank you.

PIERRE: Will he last the evening?

Yes, he'll be fine.

Stay with us.



YVES: It will float, won't it?

MUNOZ: They'll walk quickly.
The fabric will flutter.

Is my mother here?

Your mother?
Yes, in the front row of course.


Everyone's waiting. It's a huge crowd.

Where will you be?

In the front row, on the left.

I'd like to be there to see them come out.

-One by one. It must be beautiful.

PIERRE: Champagne! Let's begin.

(ON PHONE) Just imagine! 3.6 billion, Yves!

By selling to Sanofi, we get 350 million each.

Along with the praise
for selling to a French group.

YVES: That's wonderful.

That way, I can finally buy a Rothko.

You must make a statement.

Here's the speech I've prepared for you.

"Over the years,
in particular the last few years,

“I've wondered how my house and name
would live on.

"Today, I'm happy that Yves Saint Laurent
is becoming part of EIf Sanofi..."”

YVES: You're boring me.

It's important, Yves.

YVES: You know, I saw
de Bascher again yesterday evening.

It was a beautiful evening.

No, Yves, not this time. Jacques is dead.

He died of AIDS.

Very few people attended his funeral.

He asked to be buried with his teddy bear.

I love you, Yves.

I love you too.

Good night.

Good night.

Do you think

that I gave Betty and Loulou

as much as they gave me?

You understand?

I think you have nothing to fear, sir.

Thank you, Adil.

Sometimes, I don't know anymore.

Yes, sometimes I don't know anymore.

I just don't know. Odd, isn't it?

I just don't know!


Do you still need me, sir?

I'd like to listen to Maria Callas.

Very good, sir.

Thank you very much.

Good night.


PIERRE: Champagne! Let's begin.

Number 1, Anna...

Number 2, Vi... Mounia.

Vibeke, number 3.

Get in line.









YVES: / had a dream last night.

Mademoiselle Chanel and I

went to have dinner at the Ritz.

As we passed

the window display on Rue Cambon,

we started

to cry.




What do we do?

My obit's nearly ready.

But is he dead or not?

We need to be sure.

We have to break the news
here at Libération.

WOMAN: What headline?

"Farewell, Mr. Saint Laurent"?

We need something with more imagery.


"The man who loved women"?

The film just came out. That's awkward.

"Smoking/No Smoking"?

"Saint Laurent slips away"?

I like that.

MAN: How does your obit begin?

"His sole regret: not inventing jeans.

"Otherwise, the late couturier

"transformed women's outlines..."

And women too.

"And women too."

Highlight his obsession
with the inner nature of the modern woman

more than fashion,
resulting in the radical change.

Try to use the word "visionary."

I had something on the period...

"He helped to transform his times

"as a maker of joy,

"a craftsman working as an artist."

What did he die of?

No idea. Call the American Hospital.

How much on his private life?

What do we say
about the drinking and drugs?

About his fragility, say?

"Saint Laurent slips away" is approved.
After that...

We need to know if he's dead.

Who told you he was dead?

-Three people.

Why's Bergé so quiet?

MAN: For money reasons, of course, but...

He's dead. Pacadis told me.

It's sad. I liked Saint Laurent.

WOMAN: Me too.

Not red jersey. Bring me some black jersey.

A beautiful black, okay. I'm counting on you.

And hurry, please.


Call it the "Chinese and Opium" collection.

Yves, move your arm, please,
to show you're alive.

Come in.

You see?

I have always been a faithful man

Till you came along

I've always been a grateful man

I've always been a faithful man

Don't you make me do wrong

I've always been a faithful man

Till you came along

I was just hanging out

Trying to clear my mind

I saw you eyeing me

It was plain to see

Said I'm a married man

Said you were 23

Don't make me do wrong

Baby, don't make me do wrong

Don't you know, if you play the game,
things will never be the same

-Don't you know, if you play the game

Things will forever change

Don't you know, if you play the game,
things will never be the same

Don't you know?

I've always been a faithful man

Till you came along

I've always been a grateful man

I've always been a faithful man

Don't you make me do wrong

Don't make me do wrong

I've always been a faithful man

Till you came along

We were just hanging out

Didn't mean a thing

But when I started walking out

Something came over me

Never felt so guilty

Never felt so good

Don't you make me do wrong

Baby, don't you make do wrong

Don't you know, if you play the game,
things will never be the same

-Don't you know, if you play the game

Things will forever change

Don't you know, if you play the game,
things will never be the same

Don't you know?

I've always been a faithful man

Till you came along

I've always been a grateful man

I've always been a faithful man

Don't make me do wrong

I've always been a faithful man

Till you came along


I've always been a faithful man

Till you came along

I've always been a grateful man

I've always been a faithful man

Don't you make me do wrong

I've always been a faithful man

Till you came along