Roxanne Lowit’s “Yves Saint Laurent”

What makes a legend? In today’s climate—depending on the industry—it might be something as trivial as sexual gymnastics in a home video, or a digitally mastered vocal performance. Andy Warhol’s famous “fifteen minutes of fame” has turned into a couple of years of media recognition, if not more.

Even in fashion the rules of the game are changing. Legendary designers are being forced out of their fashion houses, media darlings and celebrities create fashion labels that are blockbuster hits even though the clothes are bland and disposable, and “Best Buy” photographers and videographers gain notoriety for just being at the right place at the right time.

Still, that kind of industry saturation will pass. Only those artists that really have something important to say and produce work that is timeless will become legends. Roxanne Lowit is one such artist.

Known for her work over three decades photographing Yves Saint Laurent’s collections backstage and many of his campaigns, Lowit set the standard for backstage fashion photography before other photographers understood the magic that existed on the other side of the catwalk.

Lowit’s special kind of genius is rare these days and sadly missed. However, for those familiar and not so familiar with the Golden Age of Paris Fashion in the 80s, Thames and Hudson has released a brilliant art book that chronicles Yves Saint Laurent’s genius as seen through the lens of Roxanne Lowit.

Roxanne Lowit was gracious enough to chat with Fashion Reverie during the launch of her book of photography Yves Saint Laurent at the Steven Kasher Gallery.

Fashion Reverie: How did you come to work with Yves Saint Laurent?

Roxanne Lowit: I simply went to an Yves Saint Laurent’s show in Paris that I got into through Jerry Hall, Antonio Lopez, and Pat Cleveland. I happen to go backstage and started taking pictures. I ended up on the Eiffel Tower with Yves Saint Laurent and Andy Warhol taking pictures, and I guess you could say the rest is history.

Fashion Reverie: What was it like being a part of what many consider the “Golden Age of Fashion” in Paris?

Roxanne Lowit: It was a fantastic, creative time. No one had to tell you whose clothes were on the runway; you knew the designer by his collection. Things were very different back then.

Fashion Reverie: Yves Saint Laurent was known for being very shy and reclusive. How did you get into his inner circle?

Roxanne Lowit: It came naturally. We looked at each other and immediately clicked. He knew what I wanted and I knew what he wanted, and we respected each other’s work.

Fashion Reverie: And what did he want?

Roxanne Lowit: He wanted to be happy and make people happy by wearing beautiful clothes. He was very fragile and very strong at the same time. He had that dichotomy.

Fashion Reverie: And what did you want?

Roxanne Lowit: I wanted Yves Saint Laurent to be happy and look beautiful in my pictures. I wanted to capture his soul, his humanity, and the beauty of his models. And I also wanted to capture the magic, frenetic excitement of backstage. He knew I wanted that and he allowed me to capture that on film.

Fashion Reverie: You photographed some of Yves Saint Laurent’s most famous collections, from the Opium collection to the Picasso collection to the Ballets Russe collection. Which collection was your favorite, and why?

Roxanne Lowit: My favorite collection was the one that featured the tuxedos. I was not associated with Saint Laurent when he first started featuring tuxedos for women his collection, but the collections where he included that look and silhouette were some of my favorite. I loved this look because it empowered women. He was ahead of the curve and did so many things first. From his sheer, see-through blouses to art-inspired collections; he was a design genius.

The Opium collection stands out in my mind because there was a fabulous party on a Chinese barge docked at the South Street Seaport, and then we all ended up to Studio 54. Roses were strewn for blocks and blocks in the South Street Seaport area.

Fashion Reverie: What was it like photographing some of Yves Saint Laurent muses, from Betty Catroux, Loulou de la Falaise, Pat Cleveland, Katoucha Niane, and Catherine Deneuve?

Roxanne Lowit: They were always elegant, well done and put together. They were so much fun to work with and be around. And their fashion sense was amazing off and on the runway.

Fashion Reverie: Why this book of photographs at this time?

Roxanne Lowit: I thought the timing was right. There are two movies about Saint Laurent that have come out and there is a book about Loulou de la Falaise that recently was published. I felt that the timing of my book aligned with all the new buzz around Saint Laurent.

Fashion Reverie: What other designers that you have worked and collaborated with hold a special place in your memory?

Roxanne Lowit: I have been a part of so many teams and collaborations that it is difficult to pick just a few. However, when I worked with Gianfranco Ferre when he was at Dior that was a special time.  Carla Bruni was my model for two years when I photographed the campaign. Galliano was great to work with when he was at Dior. I photographed the Dior book with him. Things were just different then compared to now.

Fashion Reverie: What was the difference?

Roxanne Lowit: The designers were more accessible without all the walls up that you see now. Now everything is corporatized and mostly about merchandizing. Things were more creative.

Fashion Reverie: During that Golden Era of fashion how was photography different?

Roxanne Lowit: Well, I pioneered backstage fashion photography. When I started shooting backstage, no one was backstage except for the designers, the models, and makeup and hair. I was free to do what I wanted.  Then merchandizing became such big business that non-fashion people began telling the designers what to do.

Fashion Reverie: What’s next for you?

Roxanne Lowit: I have a lot of archives and I want to do some more books. I have so much work that I could do an encyclopedia of fashion photography. And our young people really need to see this work and be educated about that very special time. Maybe my images and help facilitate that education.

—William S. Gooch