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But today, he is now urging you to move your money out of cash and popular stocks and into a new vehicle 50 years in the making. [LOGO OST]( At times, our affiliate partners reach out to the Editors at Open Source Trades with special opportunities for our readers. The message below is one we think you should take a close, serious look at.   From Babs to Bjork, here are the bold looks that were once derided at the Oscars but are now celebrated and deemed cool. Clare Thorp looks backs over the decades. W When Kristen Stewart turned up at last year's Oscars ceremony in custom Chanel hotpants, a cropped tuxedo jacket and a sheer white shirt unbuttoned to her waist, it was hailed by many as an iconic fashion moment – but not a shocking one. Here was one of Hollywood's most singular young actresses using the red carpet to express her individuality. "It was the one opportunity to be me," she said of her choice. Likewise with Timothée Chalamet's sequinned Louis Vuitton jacket – a piece from the womenswear collection. Young Hollywood was showing that when it comes to the red carpet, there are no rules – but that hasn't always been the case. More like this: - The iconic outfits that cause outrage - The 10 most iconic jewels in history - The Scandinavian folk clothing for now The Academy Awards aren't just film's biggest night of the year, but fashion's too. As Dijanna Mulhearn, author of new book Red Carpet Oscars, tells BBC Culture: "A successful red-carpet moment can catapult an actor into superstar status, propel a fashion label into a desired household name, result in lucrative commercial contracts, and secure the next starring role." These outfits shifted something, and challenged the strict dress codes – but we realise, as we go on, that's not so shocking – Caroline Stevenson Everyone wants to make an impact on the red carpet – but over the years certain outfits have caused much more of a stir than others, from Bjork's unforgettable swan dress to Gwyneth's maligned goth-punk moment to Billy Porter's dramatic tux dress. For some celebrities, grabbing people's attention was the whole point – while others had no idea their outfits would cause such outrage. Yet however controversial these outfits were at the time, there's no doubt that it's the boundary-pushing looks that we remember the most, even if, today, it's sometimes hard to see what all the fuss was about. "[These outfits] shifted something, and challenged the strict female and male dress codes," says Caroline Stevenson, programme director of fashion studies and cultural and historical studies at London College of Fashion, UAL. "But we realise, as we go on, that's not so shocking. Something changes the bar and then we get used to it and then we move on." Here we remember nine shape-shifting Oscars fashion moments. (Credit: Getty Images) (Credit: Getty Images) 1 Julie Christie, 1967 By the time she arrived at the 1967 Oscars ceremony, Julie Christie already had a reputation for rebellious red-carpet dressing. The previous year, when she'd won the best actress award for her role in Darling, she'd shown up in a homemade gold lamé jumpsuit, making her the first ever woman to accept an Oscar while wearing trousers. But it was the following year's polka-dot, off-the-rack mini dress that really caused a stir. After the show began to be televised in the 1950s, The Academy appointed costume designer Edith Head to serve as a fashion consultant for the ceremony. "She was backstage with a whole kit of tools to smarten up actresses who might have been a little too exposed, like rosettes to cover cleavage, or a chiffon wrap to put over a skirt that was slit too high or too short," says Mulhearn. Mini skirts certainly weren't deemed proper clothing for an awards ceremony at the time – least of all a high-street version. "But Julie Christie managed to breeze past Edith Head with her sunny smile, and Edith didn't look up until she heard the audience gasp," says Mulhearn. It was a pivotal moment in Oscars' fashion, when fashion protocol began to give way to freedom of expression. That year Time magazine said what Christie wore had "more real impact on fashion than all the clothes of the 10 Best-Dressed women combined". "Julie Christie broke the rules," says Mulhearn. "The floodgates opened thanks to her." (Credit: Getty Images) (Credit: Getty Images) 2 Barbra Streisand, 1969 Up for her first best actress Oscar for Funny Girl, a 26-year-old Barbra Streisand was weighing up two outfit options; a classic and conservative Dior gown, or an Arnold Scaasi sequinned, bell-bottomed pantsuit. "I think somebody said to her, well, if you wear [the pantsuit], you'll really make a statement. And that's all she needed to hear. So she went with the party pyjamas, not realising that under the lights, they were completely see through," says Mulhearn. "As she mounts the stairs her butt was there for everyone to see, and the only person who doesn't know that is her." That year the best actress winner was an historic tie between her and Katharine Hepburn, but only Streisand was present to collect her award – and her outfit meant that it was she who dominated the front pages the next day. "It was another example of young people busting out of the norms and breaking away from the shackles of what an older generation dictated to them, saying: we're free and independent and we make our own decisions," says Mulhearn. (Credit: Alamy) (Credit: Alamy) 3 Cher, 1986 Cher had a point to prove at the 1986 Oscars. Snubbed for an acting nomination for her role in Mask – despite winning best actress at the Cannes Film Festival – she was determined no-one was going to ignore her on the night. She instructed her friend and long-time collaborator, designer Bob Mackie, to go wild – and he certainly followed the brief. Consisting of a black-crystal-encrusted bralet, a perilously low-rise skirt and a cashmere shawl, the look was completed – and dominated – by a huge feather headdress. "I said I wanna have a mohawk, and I want to do something that's not actually Indian but I want it to be so over-the-top that it's next week," Cher told Vogue in 2020. "She said to Mackie, let's go crazy. Make it outrageous," says Mulhearn. "Bob Mackie was telling me that while he was sketching with her he said to her, this is too much. And she said, no it's not enough. I want to blow them away. They'll not forget me again. They will not miss me again. And two years later, she won best actress for Moonstruck." And, of course, she wore another scene-stealing Bob Mackie creation for the occasion. (Credit: Getty Images) (Credit: Getty Images) 4 Gwyneth Paltrow, 2002 "Everybody really hated this [dress]... but I think it's kind of dope," Gwyneth Paltrow said in 2021, recalling her much maligned 2002 Oscars look. At the time, the Guardian's fashion editor called her Alexander McQueen outfit "more Camden Market than red carpet", while Suzy Menkes of the International Herald Tribune said Paltrow looked like she was "off to see her personal trainer". Mulhearn says the criticism was unfair. "I actually thought it was a good choice, and from a fashion perspective gave her more depth," she says. "I think one of the reasons people reacted so badly was because when she had won her best actress award a few years earlier, she looked so pretty, almost like a princess. And then suddenly she comes in a completely different look, and it was jarring to see her go so opposite." Caroline Stevenson agrees that Paltrow was targeted for daring to try something different. "I think it's a really beautiful look but I can totally see why it was kind of vilified," she says. Paltrow has since said she regrets not wearing a bra. "But I think it was more the severity of her hair, makeup and jewellery, which came across as kind of semi Gothic, that people were critiquing her on," says Stevenson. "I just don't think people were ready to see something almost borderline subculture on the Oscars red carpet. It just demonstrates how rigid the dress code is around the Oscars, and how anything that even slightly veers from that is, for some reason, very shocking to the press or to the public." (Credit: Getty Images) (Credit: Getty Images) 5 Bjork, 2001 Ask anyone to name a memorable Oscar's red-carpet moment and chances are they'll mention Bjork's 2001 appearance, when she turned up in a dress that resembled a swan, its orange beak resting on her chest. Her accessories were a trail of eggs she laid behind her as she went. The red-carpet critics went to town. "The girl should be put into an asylum," sniped Joan Rivers. "Probably one of the dumbest things I've ever seen," said TV fashion pundit Steven Cojocaru. But the white tulle dress – by Macedonian designer Marjan Pejosk – is now seen as an iconic part of fashion history, featuring in exhibitions at MoMA and the Met, and even inspiring a Valentino couture gown. Bjork – who was nominated for best original song for I've Seen It All from Dancer in the Dark – said she thought it would be her first and last time at the Oscars, and she wanted to make a statement about fertility. "She was vilified but she stuck to her guns," says Mulhearn. "She wore that outfit numerous times afterwards. She didn't care what people thought, she had a point of view. And because she had such a point of view, here we are talking about her over 20 years later." (Credit: Getty Images) (Credit: Getty Images) 6 Nicole Kidman, 1997 At first glance, there doesn't seem to be too much controversial about Nicole Kidman's 1997 Christian Dior gown, a satin chartreuse-coloured couture creation by John Galliano, who had recently been appointed creative director for the design house. But it marked a landmark moment for the Oscars red carpet. "The dress was magnificent, but it was a polarising colour, and unfortunately for Nicole Kidman, this was the time where, thanks to Joan Rivers, the red-carpet critic was really rising," says Mulhearn. Rivers, who had hosted E!'s pre-awards show since the mid-90s, called it "the ugliest dress I've ever seen". She didn't stop there. "She literally put her finger down at her throat on TV, which was so outrageous in itself, but what it also did was terrify all the actresses on the red carpet, making them start to question their own taste and doubt their choices." No-one wanted to be Rivers' next target, so stars increasingly started to rely on personal stylists to dress them. "That's really when the commercialisation of the red carpet came to the fore," says Mulhearn. "Then, except for a few exceptions, it turned into the boring parade of pretty dresses that we saw from 2002 to 2010." (Credit: Getty Images) (Credit: Getty Images) 7 Celine Dion, 1999 For Celine Dion's 1999 Oscars look it wasn't the outfit itself – a white satin John Galliano for Christian Dior tuxedo suit – that was unusual. It was how she wore it; with the jacket back to front. "I thought it looked fabulous," she Mulhearn. "How many white suits have we seen on the red carpet, from Diana Ross and Diane Keaton in the '70s through to the Angelina Jolie? There's been a million of them. I guess she just wanted to wear it differently." But in a year when most other attendees were playing it safe, the red-carpet critics pounced on her. "People thought it was funny to criticise whatever they could cling to," says Mulhearn. "I don't think that one was very deserving of it. I thought it was a sensational suit." It seems the fashion world was slow to catch on because, in recent years, the singer has emerged as something of a fashion icon precisely for her avant-garde choices and penchant for drama (she has shared a stylist with a more recent red-carpet risk-taker, Zendaya). "We know Celine Dion makes quirky fashion choices and we love her for it," says Mulhearn. "Again, she's someone who came from the music industry. Those people are the ones that take risks more than others." (Credit: Getty Images) (Credit: Getty Images) 8 Pharrell Williams, 2014 Like most of the men at the 2014 Academy Awards, Pharrell Williams, nominated for the song Happy from Despicable Me 2, showed up in a black tux – only his involved a pair of shorts instead of trousers. Dubbed a "bermuda tux", his Lanvin outfit was even more notable because he didn't wear any socks. I really feel like this is the age of the individual, and we're leaning towards accepting self-expression, no matter what that is – Dijanna Mulhearn Once again, Joan Rivers had something to say, commenting: "He looks like he was representing the Lollipop Guild in the tribute to The Wizard of Oz." The New York Times called it a "dubious fashion trend", questioning whether shorts had a place at a formal event such as the Oscars. Williams wasn't deterred – he wore a blazer and shorts again at the 2019 Academy Awards, this time a camouflage Chanel combo. By that point, people barely batted an eyelid, as other male stars like Timothée Chalamet and Jared Leto were pushing the envelope even further on the red carpet. "I really feel like this is the age of the individual, and we're leaning towards accepting self-expression, no matter what that is," says Mulhearn. "And I love that men are embracing that as much as women." (Credit: Alamy) (Credit: Alamy) 9 Billy Porter, 2019 The last few years have seen a new red-carpet trailblazer emerge in Billy Porter. In 2019, the actor and singer wore a Christian Siriano tuxedo dress that combined a classic black velvet jacket, bow tie and white shirt with a full skirted strapless gown. Porter said his goal was to be a "walking piece of political art", and to challenge expectations of masculinity. If women can wear trousers, why was it such a big deal if he wore a gown? "I am not a drag queen, I am a man in a dress," he said. "People are going to be really uncomfortable with my black ass in a ball gown – but it's not anybody's business but mine." "It was just absolutely brilliant," says Caroline Stevenson. "I think it really stands out as a way to make a personal statement, within that rigid dress code, that is really reflective of what's going on in society, but also really reflective of his personality as well. And he did it with such confidence and such grace. It showed men's dress codes can be played with as much as female ones." A Wall Street legend has warned 8.4 million Americans to prepare immediately. "[A historic financial reset in 2023]( could cause a run on the banks unlike anything we've seen in our country's history," he says. Marc Chaikin has already appeared on 30 different TV networks to share his warning. Even CNBC's Jim Cramer has taken notice. [But few people realize this could actually happen on U.S. soil](. 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Good investing, Marc Gerstein Director of Research, Chaikin Analytics Inside Yves Saint Laurent's 'decadent' homes Share using Email Share on Twitter Share on Facebook Share on Linkedin (Image credit: Getty Images) Home of Yves Saint Laurent By Dominic Lutyens 13th December 2022 With their boho-luxe style and hedonistic atmosphere, the 1970s homes of the designer and his partner still influence interiors today. Dominic Lutyens takes a look inside. "Down a shuttered Paris street, through a quiet courtyard, and doors open on to the place where Yves Saint Laurent lives." So began an article in the May 1972 issue of British Vogue, which featured the duplex of Yves Saint Laurent and his partner, Pierre Bergé, at 55 Rue de Babylone, which they bought in 1970. The story conjured up a secret destination, an inner sanctum, accessible only to its owners and their glamorous entourage. More like this: - How our strangest dreams come to life - The hidden meanings in wearing black - Yves Saint Laurent's ultimate obsession Paradoxically, although their home was a retreat, Saint Laurent and Bergé were media-savvy image-makers. Its location on Paris's relatively bohemian Left Bank had symbolic importance, signalling Saint Laurent's progressive values. In 1966, he had launched his Rive Gauche ready-to-wear men and womenswear label and boutique on nearby Rue de Tournon, and had publicly declared that the hegemony of haute couture was "démodé", although he continued to create couture collections. With its Art Deco wood panelling and eclectic mix of art, the Paris apartment made a statement about its owners, Yves Saint Laurent and Pierre Bergé (Credit: Marianne Haas) With its Art Deco wood panelling and eclectic mix of art, the Paris apartment made a statement about its owners, Yves Saint Laurent and Pierre Bergé (Credit: Marianne Haas) The apartment's interior was created in the Art Deco style by French architect Jean-Michel Frank in the 1920s, reflecting Saint Laurent's obsession with the Jazz Age, which was also echoed in his ready-to-wear collections of the time. The designer was in thrall then to the streamlined yet luxurious aesthetic of high-end Art Deco, and the apartment housed Eileen Gray's Dragon armchair, stools by Pierre Legrain, vases by Jean Dunand, Gustave Miklos's stools with a red lacquer frame and opulent pieces bought at a 1972 sale of early 20th-Century couturier Jacques Doucet's collection of modern art and furniture. A new book, Yves Saint Laurent at Home – Life with Yves and Pierre, written by their friend, the interior designer Jacques Grange, showcases the couple's 1970s homes. Their other key 70s residence was Dar es Saada, a pink mansion in a secluded spot in Marrakech, acquired in 1974, whose interiors were redesigned by Bill Willis. For Saint Laurent, who was born in French Algeria, their Moroccan villa – surrounded by the paradisiacal Jardin Majorelle created by French "Orientalist" painter Jacques Majorelle – offered an escape from the commercial pressures of Paris. "As the first celebrities to allow their homes to be photographed for interior design magazines, Saint Laurent and Bergé practically transformed Marrakech into Paris's 21st arrondissement," writes journalist Laurence Benaïm in the book. The openly gay couple had holidayed in Marrakech in 1967, and mingled with bohemian Americans Talitha and Paul Getty. The young, epicene Saint Laurent grew his hair, adopted a more relaxed hippy look, and smoked kief (hashish, common in North Africa), with his friend and muse, Loulou de la Falaise. In the mid-1970s, he donned loose kaftans there and in 1976 designed a Moroccan-inspired, vibrantly coloured womenswear collection – simple tunics and harem pants in purples and oranges. Better known as a fashion designer, Saint Laurent is nevertheless admired by many for his taste in interiors, says Martina Mondadori, editor of Cabana magazine and co-author of the book, YSL Lexicon: An ABC of the Fashion, Life and Inspirations of Yves Saint Laurent: "There isn't a fashion designer or interior decorator in the past 15 years who hasn't been inspired in some capacity by Saint Laurent's vision. Dar Es Saada was an ode to the versatile, sophisticated world he lived in. The flow of rooms on the ground floor is the perfect set design for any party. It's as decadent as it gets, and the velvets, the colours and tiles make the whole house feel very intimate – ultimately the secret to making everyone feel at home." Saint Laurent on the terrace at the Marrakech home he shared with his partner (Credit: Getty Images) Saint Laurent on the terrace at the Marrakech home he shared with his partner (Credit: Getty Images) But it was the couple's elegant apartment at Rue de Babylone in Paris that was the epicentre of their social life and the perfectly curated setting for their lifestyle. "Saint Laurent and Bergé were ahead of their time," says Anthony Barzilay Freund, editorial director and trends expert at 1stDibs, an online space for antique and contemporary design, art and fashion. "True collectors compelled by beauty and quality, they were extremely eclectic. What unified their collection was the excellence of every object. The rooms at 55 Rue de Babylone must have served as great settings for social gatherings. There must have been a sense of welcome and festivity expressed through the diversity of the décor, felt by guests." A legacy of a late 1960s bohemian sensibility, [the style] rejected convention in favour of freedom and self-expression – it was designed for socialising and entertaining without fussiness or formality – Marie Kristine Schmidt Boho-luxe furniture, redolent of Saint Laurent's 1970s lifestyle, is currently in demand. Danish brand Gubi recently reproduced the Bohemian 72 collection of the late Milanese designer Gabriella Crespi in collaboration with her daughter Elisabetta Crespi, which includes rattan seating with plump cushions. "1970s furniture was characterised by an emphasis on cosiness and comfort – low-slung seating with soft, cloud-like cushioning – and by a leaning towards organic materials, evocative of the natural world," says Marie Kristine Schmidt, chief brand officer at Gubi. "A legacy of a late-1960s bohemian sensibility, this rejected convention in favour of freedom and self-expression. It was designed for socialising and entertaining without fussiness or formality." Look back in languor Each room of the boho-chic apartment had a distinctive mood: a vast wood-panelled 1920s salon, a white-walled, book-lined library, a rich red hallway, a mirrored den. Saint Laurent adored Chinese artefacts and Chinoiserie. This also found expression in his 1977 haute-couture collection with an "Imperial China" theme – lamé jackets with pagoda-inspired shoulders and lacquered red "coolie" hats – that presaged the launch of his perfume Opium. The scent's ad campaign featured 70s supermodel Jerry Hall shot alongside white orchids in the apartment's dark, atmospheric "Oriental Room". Along with the Paris apartment, the pair's villa in Marrakech was also the scene of frequent parties and glamorous gatherings (Credit: Marianne Haas) Along with the Paris apartment, the pair's villa in Marrakech was also the scene of frequent parties and glamorous gatherings (Credit: Marianne Haas) Vogue's window on to this elegant universe was teasingly represented by Saint Laurent and his other main muse Betty Catroux striking conspiratorial poses. The two were snapped in his all-white library-cum-studio clasping hands, laughing uproariously and sprawling elegantly on a dazzling white sofa, she in a cardigan "silvered with sequins", pussybow "mousseline blouse" and "black dinner trousers", he in a spotless white suit and lace-ups, taffeta shirt and silk bowtie. The room boasted a Lalique balustrade and surreo-pop pieces by contemporary French sculptor Francois-Xavier Lalanne, from a futuristic, steel, egg-shaped bar to sheep-shaped stools. Another showed the pair reclining among brocade floor cushions in the dimly lit Oriental Room, she with cigarette holder in hand, he in a black satin jacket and gabardine trousers. Behind them a gilded Ming Dynasty Buddha glows against mirrored walls illuminated by candles. The surfaces were tactile, the colours almost edible and the lighting so flattering – it was an overwhelmingly sensual interior – Marian McEvoy Saint Laurent and Bergé enhanced the exoticism of 55 Rue de Babylone by creating a multisensory setting. "It was one of the sexiest places I've ever been in," recalls writer Marian McEvoy about the apartment in the book, The Beautiful Fall – Fashion, Genius and Glorious Excess in 1970s Paris by Alicia Drake. "The surfaces were tactile, the colours almost edible and the lighting so flattering. There wasn't one lamp that if you walked by you didn't feel absolutely beautiful in its light. The fires were always at the right point, there weren't too many logs or too few. It was an overwhelmingly sensual interior." As Drake puts it: "Every room smelt of lilies and ivy." The Paris apartment was a gathering place for the couple's glamorous social circle (Credit: Getty Images) The Paris apartment was a gathering place for the couple's glamorous social circle (Credit: Getty Images) Saint Laurent's coterie also included the glamorous Loulou and aristocratic Thadée Klossowski, son of the painter Balthus – whom she married in the 70s – Paloma Picasso, who wore eccentrically retro 1940s clothing, and the dandyish Jacques de Bascher, briefly Saint Laurent's lover. What set 55 Rue de Babylone apart from stylish interiors of the day was its eclecticism. Saint Laurent and Bergé were by no means alone in collecting Art Deco design – many others were swept up in what was a global craze. But, as Benaïm notes in the book, "While France thought of itself as ultra-contemporary, in shades of white and orange, Saint Laurent and Bergé sidestepped the diktats of their peers to rekindle the decorative arts of the 1920s and 30s". Pieces from all periods formed part of this complex mix: a homoerotic ancient Greek marble male torso, a 19th-Century sculpture of a bird from the Ivory Coast, a sculpture by Constantin Brancusi, a monumental tapestry by pre-Raphaelite Edward Burne-Jones and paintings by Goya, French Romantic Theodore Géricault, Surrealist Giorgio de Chirico and Cubist canvases by Picasso and Léger. Alongside these were a few contemporary pieces, including multicoloured Warhol portraits of Saint Laurent, painted in 1972. Enduring influence One current interior inspired by 55 Rue de Babylone is a duplex in Paris's well-heeled Trocadéro area, revamped by Parisian interior design studio Hauvette & Madani, fans of the heady Saint Laurent-Bergé lifestyle. The practice has even designed a furniture collection inspired by their clique – including a silk, Chinese-inspired pendant lamp called Betty and a maplewood bedside table named Yves. Contemporary Danish brand Gubi's low-slung seating echoes Saint Laurent and Bergé's 1970s boho-luxe style (Credit: Gubi) Contemporary Danish brand Gubi's low-slung seating echoes Saint Laurent and Bergé's 1970s boho-luxe style (Credit: Gubi) Occupying a 1980s building with an Art Deco-inspired interior, the duplex has oak-panelled walls. "When you walk into a wood-clad room it has a special sound and smell," says the studio's co-founder Samantha Hauvette, adding that the duplex instantly evoked the hedonistic soirées thrown by Saint Laurent and Bergé; the studio pays homage to this by hanging photographs of these events on a mezzanine level. "We like mixing different pieces," she continues. "Saint Laurent and Bergé took a very personal approach, collecting individual items that caught their eye, then figuring out how to combine them when they got home. We love how their homes were designed around entertaining, with parties revolving around the Parisian tradition of apéro – short for apéritifs at home, usually champagne, red wine or rosé – and the contrast of these well-dressed beautiful people in such elegant surroundings drinking. I can't imagine them ever sitting down to dinner in the dining room; they'd head out instead to cool clubs of the time like Club Sept and Le Palace." "Saint Laurent and Bergé's style appeals because their collecting was driven primarily by passion and spontaneity," says Gergei Erdei, a homeware designer whose pieces have a 70s Saint Laurent vibe. One inspiration for him is Rue de Babylone's wood-lined living room: "This is so different to celebrity homes you see in magazines today, often decorated with a bland total look." Yet it would be simplistic to suggest that Saint Laurent's approach was purely for fun. With its rare, sought-after art and antiques, 55 Rue de Babylone was also a statement that he'd arrived. "The move marked a new phase in his life," observed Drake. "He and Pierre were flush with money and spending in considerable style. They were building the image of the house of Saint Laurent on the cult of the man and the new home was in perfect accord with this cult and with Yves's social status of couturier." "Saint Laurent was one of the most famous creative people of his generation and his apartment was staged to attract attention," says Erdei. "It's telling that he and Bergé's bedroom, their most private space, was relatively pared-down." Saint Laurent and Bergé's apartment at 55 Rue de Babylone had an intimate, bohemian feel that still resonates today (Credit: Marianne Haas) Saint Laurent and Bergé's apartment at 55 Rue de Babylone had an intimate, bohemian feel that still resonates today (Credit: Marianne Haas) Mondadori says that Saint Laurent's talent lay in a pluralist yet personal creative approach: "He sat in his studio or at home and would dive into a distant country and cultures by immersing himself in books, movies and so on. He wasn't didactic but preferred to mix different influences – make the elements his, before turning them into an idea for an interior or collection." Perhaps the enduring interest in the Saint Laurent aesthetic lies in its wide-ranging eclecticism that can't be pinned down, chewed up and discarded. "The impact of 'le style YSL' cannot be dissociated from the man, his clothes and brand," says interior designer Fabrice Bana, one of whose projects includes high-gloss lacquered, dark purple walls – a nod to the Music Room at Rue de Babylone. "His interiors are intricately part of the YSL DNA which was globe-trotting, era-defying, carefully curated." [divider] You are receiving this e-mail because you have expressed an interest in the Financial Education niche on one of our landing pages or sign-up forms on our website. If you test@recipient.com received this e-mail in error and would like to report spam, simply send an email to abuse@opensourcetrades.com. You’ll receive a response within 24 hours. Email sent by Finance and Investing Traffic, LLC, owner, and operator of Open Source Trades To ensure you keep receiving our emails, be sure to [whitelist us.]( This ad is sent on behalf of Chaikin Analytics, 201 King Of Prussia Rd., Suite 650, Radnor, PA 19087. 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