We introduce the LOVE cards made by Yves Saint Laurent. For 30 years, they were sent to clients and closest friends with the best wishes.

We introduce the LOVE cards made by Yves Saint Laurent. For 30 years, they were sent to clients and closest friends with the best wishes.

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Inside Jardin Majorelle in Marrakech, in a small room, by the stunning garden, you can find the Galerie LOVE. Inside this space, the New Year´s cards collection or cartes de vouex that Yves Saint Laurent created between 1970 and 2000, is exhibited. Just in ´78 and ´93, he ceased from sending them; those years were referred as “the years without love”.

In all the cards, there are two fixed elements, the year in which they were sent and the word Love. Yves Saint Laurent sent them to his clients and dearest friends. The cards are quite fascinating, not only by the play of colors and their graphic approach, but also because they show another creative side of this couture genius.

For Saint Laurent, the concept of love and its symbol, the heart, were always essential. One of his greatest phrases was “without an elegance of the heart, there is no elegance”. Pierre Bergé recounts in an interview with Numéro magazine that it all began in 1962 with the first collection of the recently founded Maison Yves Saint Laurent. For one of the gowns, they created a fantasy broach with an asymmetrical heart including a huge embedded red stone. As not with any other piece of jewelry he ever created, this one he kept forever as a talisman. Before long, the heart started to become one of the symbols of the maison.

Every year, the card design was imbued by the inspirations of Yves and the world around him. The ones he created in the 70s are loaded with snakes, a symbol he cherished, maybe from the times of his Algerian childhood. In 1966, Pierre Bergé and Yves first arrived to Marrakech; they were so fascinated that they promptly bought the first house they would have in this city. Curiously, this house, which was bought to the Indochinese antique dealer Maurice Doan, was called Dar el Hanch, the House of the Snake. It is obvious in these cards the influence he gathered by his constant stays in Morocco.

It is also very interesting through these cards, to get a glimpse of the knowledge and taste of Yves for Art history and Design. The one from ‘83 evokes Memphis Milano´s colors and shapes, the one from ‘85, the graphic elegance of Art Decó and the one from 1988, the senselessness and typographical use of Dada.

This from 1972 is one of my favorites. It perfectly represents the strength of the Sun from the North of Africa along with the hippy psychedelia lived at the time. Furthermore, its composition is direct and overwhelming.

The use of minimalism and abstraction in these cards from the 80s is remarkable. The calm in the view on the 1982 card is exceptional. The one from 1986 fascinates me; it is made in collage form, in a very simple graphic, but at the same time very recognizable. It is the representation of the fountain at Jardin Majorelle, with cobalt blue and the penetrating yellow of the Sun. Yves and Bergé bought this property in 1980.

Be part of KatariMag

In KatariMag we love art, beauty and ideas. We devote hundreds of hours to research and write to deliver the best stories of contemporary culture.

But the love of art also has its needs. So if KatariMag moves you and entertains you, be part of our community and collaborate with us! You can choose between PayPal or Patreon


Newsletter Mensuales por KatariMag

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