Stylist, designer and foremost collector of vintage YSL (with some 3,000 pieces), Olivier Châtenet chatted to L’Officiel on the eve of his new YSL exhibition about his enduring love for vintage fashion.

What was the starting point of your infatuation with Saint Laurent?

It did not start empirically. Initially, my collection was not at all a collection. At the time, I had daily activities as a stylist. The development of my collection was gradual, of course, because I liked collecting designer pieces even before the wave of the vintage took momentum. I nurtured my passion of pretty clothes and my collection has been built through this passion for beauty, more than for the sake of sourcing. Michèle, my ex-wife, with whom I worked, wore vintage and vintage mixed with more contemporary pieces. The timelessness of Saint Laurent has fueled my curiosity for him, and my desire to hunt more.

What other designers are you fond of?

When we observe the process of creating a wardrobe thirty years ago, we see how each house had a specific identity, and much more today. I think of Kenzo, Sonia Rykiel, Chloe by Karl Lagerfeld but also Cacharel … In the years 1960-1970, all was immediately identifiable. In my collection, I try as much as possible to reference these names that matter to me.

Returning to the Saharienne. Can you tell us his story?

The Saharienne Saint Laurent appeared for the first time on Veruschka, this famous photo was taken in the jungle in 1968. This is not a fashion parade: the garment  was specially made for the photo. The Saharienne [safari jacket] is found in the collection – and therefore in the ready-to-wear – from 1969. Soon, Yves Saint Laurent wanted to build a wardrobe “classic” with perennial parts. That’s why there was the development of the Sahara, the trench coat, blazer, tuxedo, pleated, the man pants … The Sahara is one of the garments he returned to, much like tuxedos.

So there was no Saharan “Africa” [Safari] ​​collection by Yves Saint Laurent in 1967?

No. They say African collection because there were beaded dresses, breast cones, a spirit that was very “Bambara” [originating from Mali] African … But there was not just that in this collection: there were also tailored pieces, other more traditional pieces. It was from 1969 that Yves Saint Laurent begins to alter the Saharienne—to change pockets, belt, collar … With Saint Laurent as for others, I try to focus on the start of vocabulary building. From 1980, Yves Saint Laurent rereads what he did before.

According to you, Saint Laurent is the instigator of the Saharienne?

Very much so. Yves Saint Laurent gave acclaim to the ‘Saharienne’ [safari jacket]. To say he invented it wouldn’t be wrong … He was the first great stylist: he had the sensitivity to understand the needs of women. All that constitutes the Yves Saint Laurent alphabet is based on the idea of ​​a classic wardrobe. He realized that there was something extremely durable in the male wardrobe, and attempted to replicate this sustainability in the female wardrobe.

What do you think of the wave “vintage” currently sweeping the streets and on the catwalks?

Vintage is a phenomenon which exploded ten years ago, and is becoming traditional, like antique furniture can be classic in a house today. The idea that a garment has been worn intrigues everybody, as does using home furniture from the Louis XVI! In addition, vintage is quality at a reasonable price, with that you possess something original, which you will not find on your neighbour or his neighbour .. Together, these factors explain the success of vintage.

Exhibition “Yves Saint Laurent Saharan Africa 1969-1980” by Olivier Châtenet, Saturday, October 17 and Sunday, October 18 at the Carreau du Temple, Paris

-Image Courtesy YSL and L’Officiel Paris