Of Comic Books and Couture

In 1967, Yves Saint Laurent launched La Vilaine Lulu, the beastly little star of a comic book guide — or bande dessinée — that he wrote and illustrated.

Short and squat with a froggy face, carrying a beribboned boater and a scarlet cancan skirt that she would flip as much as expose her bare derrière, La Vilaine Lulu terrorized her academics, schoolmates, passers-by — nicely, everybody, actually. A satan baby, that Lulu.

Now she is a cornerstone for “Mode et Bande Dessinée” (“Fashion and Comic Books”), which its organizers say is the first main exhibition to take a complete have a look at vogue in comedian books and graphic novels, by way of Jan. 5 on the Cité Internationale de la Bande Dessinée et de l’Image in Angoulême, France.

As the autumn couture season begins on Monday in Paris, the present is a reminder that, whereas luxurious vogue is commonly seen as elitist, it has a approach of trickling down commercially and artistically to sudden but extremely accessible locations — and vice versa. Comic-Con International and the elaborate character outfits worn by fans are just one flash of the impact.

“Even Tintin has a look,” Mr. Lungheretti said.

The Cité’s six-part exhibition begins with a study of similar pen strokes found in renderings by fashion designers like Elsa Schiaparelli and Saint Laurent and such B.D. luminaries as Winsor McCay, the early 20th-century American cartoonist of “Little Nemo,” and Jean Giraud, the French artist also known as Moebius, who died in 2012.

In this section La Vilaine Lulu pops up at her most naughty — hosing chums with ice water, stringing up innocents, lashing adults to bedposts or tossing them out skyscraper windows — in original drawings on loan from the Musée Yves Saint Laurent in Paris. “It’s remarkable to see that Saint Laurent chose this mode of expression to illustrate his universe, with an imagination that was very tortured, even violent,” Mr. Lungheretti said, adding that the comic “explains a lot who he was.”

The show then turns to B.D. homages and influences on the catwalk and in advertising, such as Parfums Dior’s Eau Sauvage campaign of 2001, which featured Corto Maltese, the enigmatic title character of Hugo Pratt’s high seas adventure series. There also are panels from Marvel’s Millie the Model, which ran from 1945 to 1973, as well as Les Triplés, a regular comic feature about three precocious children that has appeared in Madame Figaro, Le Figaro’s weekly fashion supplement, since 1983.

For a 1990 strip, the Triplés author Nicole Lambert, herself a former model, drew a camellia-adorned black velvet boater just like one Karl Lagerfeld had originally designed for Chanel (the cartoon and hat are both on display). Though perhaps no B.D. so closely joined the shows and the comic squares as Annie Goetzinger’s “Jeune Fille en Dior,” or “Young Woman in Dior,” a 2013 graphic novel that recounted the adventures of a junior fashion reporter covering the couture house’s first défilé.

As the brand prepares for yet another, it could be required reading on the front row.

Source link Nytimes.com

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