“I find the concept a bit out of place. The parallel might be too easy and slightly vulgar.” “The umbrella itself is beautiful, but why this play on words with our village?” “They cannot appropriate our identity; it’s a scandal.” A hint of reluctance, sometimes even a sense of revolt.
In Saint-Tropez , some locals are taken aback after the recent media coverage in Parisian press and on television, surrounding a new object with an unusual name: Seins-Tropez .
Conceived in 2023 by two French creators, this parasol grabs attention and provokes thought with its canvas, simply illustrated by a nipple . An original and bold design, fully embraced by its inventor, Matthieu Vergote .
“A Humorous Nod”
“With this product, we aim to liberate women and deconstruct all the censorship, particularly on social media, surrounding breast exposure and toplessness. This creative project allows us to break the taboos related to this subject. For us, it’s both a humorous nod and a form of commitment.”
Regarding the name of the project, the play on words with the community came to him as an obvious choice. “With Ekhi (the designer), we briefly hesitated over Seins-Malo , but it’s not there that the movement for women’s emancipation is most prominent,” he admits. “It is markedly more present in Saint-Tropez , bolstered by local icons like Brigitte Bardot. It felt more appropriate to play on the phonetics of this village. However, there is no intention of blasphemy with the name. It’s purely humor; we didn’t even think of contacting the town hall.”
On the Internet, comments are often more upbeat and interested.
Within the same collection, the artist has developed a range of cocktail glasses titled Seins-Germain , featuring suggestive designs.
Costly Accessory
Besides its aesthetics and ambivalent symbolism, this parasol is also criticized by Tropéziens surveyed, who deem the price of €259 excessive.
“At that price, you might as well include a pair of panties, jokes a local resident. It’s far too expensive for a simple beach accessory. I could buy fifteen of those for that price!”
For his part, Matthieu Vergote defends himself and champions independent European production: “We do not want to mass-produce it. Only a few dozen per year. Above all, it’s a concept created by two creative minds.”
The manufacturer also assures that 10% of the sale price will be donated – a mention clearly identified under the product in its publications – to support the fight against breast cancer , although the selected association has not been explicitly cited (the collected funds have yet to be donated to the contacted association).
Again, questions abound, particularly on social media. “If you really want to help the cause, it seems more logical to donate €259 directly to an organization than to pay for a parasol from a brand that will only donate a fraction,” commented one internet user.
While not seeking to make it a selling point, this charitable association has been heavily promoted in the media. “The motivation is primarily aesthetic and political, focused on the place of the breast in society. We thought it clever to align with this cause for the occasion,” he argues. “Again, these products are expensive with little margin for charitable contribution, so it’s not our primary focus.”
Displeased Town Hall
Outraged. The mayor of Saint-Tropez, Sylvie Siri , did not hold back her words after discovering this range of suggestively named parasols.
“This is exactly what we detest here: commodifying Saint-Tropez in all its forms! It’s ridiculous and deplorable to use such a pun, as it touches our honor,” she protests.
The municipality has also informed that legal actions will be pursued. “The use of the name Saint-Tropez in this context raises questions as it conveys a reductive representation of our town, disconnected from our true identity.”
In the vibrant atmosphere of Saint-Tropez, the controversy surrounding the “Seins-Tropez” parasol highlights a cultural clash between artistic expression and local sentiment. Creators like Matthieu Vergote are challenging societal norms and taboos, but such provocative endeavors often face scrutiny, especially when intertwined with local heritage. The unfolding narrative has sparked lively discussions among locals, artists, and cultural critics alike, creating a unique spotlight on the evolving dialogue about identity, art, and the commercialization of cultural symbols.
