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In the fashion industry is to be Yves Pierre structure and superstructure, or perhaps it would be more appropriate to say the opposite? The scan time has classically skeleton frame: the old Pierre Berge (Guillaime Gallienne de la Comedie-Francaise) reminds his companion disappeared in flashbacks, emotion and regret.
The protagonist is fashionable to natural character for a feverish mind that if you do not find peace by drawing and imagination with that breaks into an art founded with the aim of finding relief primordial phantoms of the mind. The film is extremely visual and models of YSL are amazing, from the first attempts post-emancipation Dior to contamination with the art of Warhol, Mondrian, Matisse and exotic styles.
The Algerian Lespert prefers to focus on the issues in the first part of the art in an absolute sense, and the relationship with politics, weapons, management of emotions and in the second on more and more predominant dark side of the designer. The film ultimately reveals the story of a man put in shape with unconventional ways sometimes too conventional.
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After the death of Christian Dior, the young Yves Saint Laurent, called to replace him, opened his own fashion house staff.
This product evenly bio Lespert biopic, biostyle, Bioart is not possible to isolate the personalities of the lovers to derive the individual specificity, when a tie is l’amour fou. Pierre, like an invisible Geppetto, deals with all the aspects that make it possible to Yves. Tormented and unresolved, Yves delves into fabrics in search of an identity and thus launches a new femininity with the trench coat, blazer, tuxedo feminine.
Model Victoire mob deep chords in Yves, not only as a personification of an ideal fashion, but also as a generator of jealousy and subject to the frontiers of the quasi-possible; The designer keeps homosexual but Victoire lights of the everyday fantasies of a world in which men think to dress women. But the atmosphere is authentic, due largely to haute couture models present at the scene and the soundtrack.

At his side his companion, friend and partner in life, Pierre Berge who, now elderly, says dream, rise and fall of the man who has loved more than anyone else. It starts with a young twentysomething stylist in Paris, from climbing up to the house of Dior for human conflict and existential unrest in Algeria, where the family lives. The three actors are very good at building a sort of Jules et Jim shuffled cards, a film within a film where nothing is as it seems and not as it seems. Saint Laurent is helpless in front of the world, because the only thing he can do is to create clothes.

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