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In many ways, museum shows are the anti-art fair experience: they run for longer; nothing can be purchased; and when done well, they put forth a perspective that gives the works included greater depth. With this non-exhaustive selection, familiar ideas and themes emerge anew, either owing to greater distance and reflection, or because the evolution of how we live prompts a revised, more relevant reading. They are worthy detours from the art fair circuit—and for anyone else visiting Paris through the coming months.

West Virginia mountaineers volleyball icon powerblend shirt

In many ways, museum shows are the anti-art fair experience: they run for longer; nothing can be purchased; and when done well, they put forth a perspective that gives the works included greater depth. With this non-exhaustive selection, familiar ideas and themes emerge anew, either owing to greater distance and reflection, or because the evolution of how we live prompts a revised, more relevant reading. They are worthy detours from the art fair circuit—and for anyone else visiting Paris through the coming months.

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“Années 80, Mode, design et graphisme en France” at the Musée des Arts Décoratifs continues until April 16, 2023. Curated by Elsa Janssen, this exhibition starts small with Yves Saint Laurent’s proclivity for gold buttons. Nearby, a ‘cabinet of curiosities’ by Valérie Weill boasts an array of his gold objets d’art, such as a partial bust by Claude Lalanne, who created wearable pieces for Saint Laurent’s fall-winter 1969 collection. And then come the tableaux vivantes, staged with his dazzling creations across three decades. The embroideries glint, the lamé shimmers. In other contexts, the effect would be OTT; but Saint Laurent gave equal weight to attitude as surface treatment. On the upper level in a darkened space, a grouping of nightlife attire—including a single sober Le Smoking for contrast—appears across from a wall collaged with photos of the YSL muses who shone in these golden looks. Just as illuminating: the display of fabric swatches from his artisan suppliers who seemed to embrace the challenge of contemporary opulence. While some might linger over two floor-to-ceiling displays of jewelry—one chronological, one chromatic—arranged by Anna Klossowski, the indisputable pièce de résistance is a gleaming gown from the fall-winter 1966 collection covered in sequins with a neckline of colored stones that gives the impression of liquid gold. Before visitors exit, they pass Saint Laurent’s words: “One day, my name will be inscribed in gold letters of the Champs-Élysées.”

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