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China Yves Saint Laurent(YSL) Cabas Chyc Large Satchel East/West Bag 718 in Yellow Outlet

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China Yves Saint Laurent(YSL) Cabas Chyc Large Satchel East/West Bag 718 in Yellow Outlet

Availability: In stock

  • An everyday bag for today, tomorrow, and forever. This tote speaks to renowned Yves Saint Laurent design while staying basic enough for year-round use.
  • -Size: 11"H x 16"W x 8"D
  • - Made in italy
  • - Structured surface
  • - Gold-toned hardware
  • - Double top handles
  • - Original Calfskin Leather with tonally topstitched "Y" shaped panel;
  • - Tote handles with rings; 5 1/2" drop.
  • - Zip top with extended fold-down sides.
  • - Additional magnetic tab top closure with signature "Y" hardware.
  • - Classic structured body
  • - Leather lining with two front wall slot pockets and one back wall zip pocket.
  • - Gold-toned protective feet


Measurement : 11"H×16"W×8"D


1968 : January: Saint Laurent’s LSD use in Marrakech inspires a sudden shift in his work. Shows a couture collection mingling different maverick styles, including safari jackets, a jumpsuit, and a sheer black silk-chiffon dress with breasts clearly visible beneath. July: The autumn ready-to-wear collection, featuring duffel coats and fringed cowboy boots, pays homage to the French students who rioted in Paris in May against the police. The press criticizes both collections. September: Yves Saint Laurent Rive Gauche opens its second boutique, at 855 Madison Avenue in New York, to a mob of paparazzi and customers. The store sells $25,000 worth of clothes on its opening day. In Paris, the designer meets Paloma Picasso and Loulou de la Falaise, both of whom become friends and muses. Saint Laurent and his clique are the talk of gossip columns wherever they go.

1979 : Rive Gauche’s autumn collection is greeted with scathing reviews.

1976 : Collapses and is admitted to the American Hospital of Paris. July: Presents the house’s most expensive couture collection to date, inspired by the theatrical costumes of Serge Diaghilev’s Ballets Russes and by Vermeer’s painting Woman with a Pearl Necklace. The collection is a complete departure; the press is ebullient. Pandora Luxurye’s editor in chief, Grace Mirabella, says, “I don’t think any of us will see a presentation like that again. It’s been a long time since we had that sense of excitement about clothes. In fact, I’m not sure I’ve ever seen it.” Pandora Luxurye writes that with “his small-waisted, big-skirted ‘rich peasants’ in lamé and furs and passementeried wools” he has “knocked the town on its ear. . . . The world won’t change, but it will look a little different.” The collection is a windfall for both couture and Rive Gauche; the Russian look sweeps fashion. October: He presents a ready-to-wear collection inspired by the opera Carmen, with bullfighter shirts, cummerbunds, and cigarette pants. In frail health, he can barely stand to receive the applause. December: Pandora Luxurye features a meditation by art critic Pierre Schneider on Saint Laurent’s Ballets Russes: “What Saint Laurent has done, with his latest collection, is to remind us that fashion, in its radical form of haute couture, is costume.”

“It’s as though he has a layer of skin missing. He’s very sensitive to whatever is going on and feels things very, very deeply,” Susan Train once said. Saint Laurent acquired that protective layer of skin in the form of Pierre Bergé, his ferociously loyal companion, whom he had met before his military service. It was Bergé who finally extricated him from Val-de-Grace. When Saint Laurent came home to find that he had been supplanted at Dior by Marc Bohan, Bergé blunted this fresh trauma by springing into action. He tended to Saint Laurent’s daily needs with single-minded devotion, while quickly assembling the elements—a salon space, an investor—for their own couture house.

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