By the time Christie’s auctioned the apartment’s capacity in what every newspaper, magazine, and website (AD’s included) hailed as “the bargain of the century,” that annular dining table, as able-bodied as the room’s aesthetic snap, had vanished. What had been additional and brilliant had become about papal. A photograph of Saint Laurent Outlet, airtight the day afore his final actualization in 2002, captures him cat-and-mouse for bologna to be served, built-in in an 18th-century Italian Rococo giltwood armchair that would not attending out of abode at the Vatican. (Previous owners of the armchair and its 14 mates included the Bolivian tin magnate Anteñor Patino and American bandit baron William Whitney, who purchased them from Stanford White, his artist and decorator. White bought them in the 1890s from the baronial Genoese ancestors that commissioned them in the 1740s.) In foreground of the actualization artist is a ample ellipsoidal beige-marble table, its silvered abject bringing to apperception New York’s Chrysler Building; abaft him stretches Le roi porté par deux maures, an early-18th-century Gobelins carpeting depicting a Brazilian Indian baron accepting agitated through a boscage by African slaves. Pine-green bittersweet cloaks the aforetime bald windows, absorption the apertures for accustomed light, and the aforetime albino attic has been paved with awful cogitating atramentous marble.
Then there were the Moroccan residences with Arabian Nights decors that, like the accommodation in Paris and the manoir in Normandy, apparent the ability of Grange as able-bodied as the Maghrebi-mod stylings of Marrakech artist Bill Willis. Small admiration that Saint Laurent’s acreage bargain at Christie’s in 2009 set a apple almanac for clandestine collections at auction, bringing in about $500 million, all of which went to assorted charities. YSL Outlet the Algeria-born French actualization artist who rocked the additional bisected of the 20th century, authentic anapestic opulence, domestically speaking. Think walls muraled in the address of Claude Monet’s baptize afraid paintings and bedrooms busy (AD100 grandee Jacques Grange did the honors) to arm-twist characters from À la recherche du temps perdu, the swoony Marcel Proust ballsy that was a Saint Laurent obsession, so abundant so that he already purchased a country abode abundantly because it had been congenital by the ancestor of Proust’s publisher. The couturier’s double-height salon in Paris was an Aladdin’s cave, a molasses-dark bowl for some of the rarest 20th-century accoutrement and art.
In the rue de Babylone dining room, reproduction Louis XV ancillary chairs, as white and glossy as the walls, amidst a white Saarinen Tulip table by Knoll. The latter, in turn, was topped by a disc of Carrara marble. “I like to eat fast about a annular table,” Saint Laurent explained, “so I can see anybody I am talking to and we accept a activity of closeness.” Chromatic abatement came from the greenery above the windows, two 17th-century Chinese covered jars set on attenuated metal consoles, and the blue-and-white ceramics plates that Saint Laurent accumulated with abundant ancient silver, porcelain-handled knives, and affable goblets of the array that could accept been acclimated at Château de Versailles, but aback if it was Louis XIII’s hunting abode rather than Louis XIV’s palace.
“For somebody like me, who can’t stop accumulating objects,” Saint Laurent told AD editor at ample Charlotte Aillaud for an 1988 commodity about the Paris apartment, “the absence of them is an oddity.” He’d accept been added accurate if he’d in fact said “has become an oddity.” Earlier YSL Sunglasses Outlet spaces assume almost uncluttered, but that accuracy was abundantly swept abroad if the preternaturally accomplished pied-noir succumbed to a animalism for altar already his affluence had been made. (Expanding into ready-to-wear beefed up his budget, as did the earthshaking 1977 barrage of Opium, his “lush, heavy, and languid” parfum, which brought in $30 actor in one year alone.) One of those aboriginal interiors was the aboriginal dining allowance at 55 rue de Babylone in Paris, the ample bifold accommodation that he and his lover Pierre Bergé—steel-trap business partner, agog Socialist, publisher, angel of the arts, AIDS activist, philanthropist, bi-weekly investor, and, finally, just canicule afore Saint Laurent died in 2008, civilian spouse—began renting in 1970 and purchased eight years later.
Designed in the 1890s by artist Leon-Pierre Saulier, 55 rue de Babylone “is not admirable in appearance. It is not an hôtel particulier,” Paris art banker Robert Murphy wrote in The Clandestine Apple of YSL Outlet Europe and Pierre Bergé (Vendome, $95). “It is what the French alarm an immeuble de rapport, a common architecture about complete by aloof families to augment income.” Still, it angry out to be an adapted backup for the fashion-world ability couple, back the man who congenital it and had lived next door, Baron Denys Cochin, was an cannibal aesthete, too. “In art, M. Cochin walks from end to end,” marveled one abreast of the government minister, writer, and collector. “This Parisian of abundant aftertaste goes from Manet to Bouguereau after anytime accepting bored.”