We had met in Paris in the 80s, back then he worked as a stylist at Yves Saint Laurent. Christian Froin, far beyond his job as a stylist, was a kind of modern-day poet, with a sense of humor you only see in films, and an extreme kindness praised by everyone. Later, we reconnected in Le Mans, the city of the 24-hour race. It was during the music festivals that we saw him the most, having fun and dancing with everyone, his heart-shaped glasses firmly perched on his face. Few people knew what had led him to leave the house of Saint Laurent. Some, like me, knew it was due to a disagreement with Pierre Bergé on a project—a deep disagreement that Christian Froin described this way: “One day, we were gathered around Pierre Bergé with our designs. Disagreeing with him on a minor point, I got upset.”

The reality was much deeper; it was a rejection of a stylistic direction that had required a lot of work from Christian. In any case, Christian, tired of the situation, which was far from the first of its kind, decided to leave Saint Laurent with these words: “Gentlemen, censors, good evening. From me, you will see nothing but the black of my soles. It’s not Pierre Bergé who is showing me the door; it’s Christian Froin who is leaving.” He was affectionately nicknamed Frou Frou, in reference to Edith Piaf’s song about sewing, among other things.

Aside from this story, it must be said that in the 80s, Christian was one of the greatest haute couture stylists, admired by all. He was also often seen at protests, a man of heart, a man of the left. Talking with him was always a delightful moment. The last time I saw him was in Le Mans, shortly before I left France. I explained my reasons to him, and he said, “You’re right, go for it!” Christian wasn’t just a friend; he was the kind of person who leaves an indelible mark around him, both a public figure and a discreet one. So, farewell to the artist! I’m really happy to have known such a wonderful person like you!

Thierry De Clemensat

Editor in chief

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