For Winter 2020 Anthony Vaccarello revisits Saint Laurent’s well-behaved and overly bourgeoise elegance of the Nineties. Between gilded salons and nocturnal places inhabited by well mannered girls and bad boys, the Saint Laurent woman loves to take risks, she wears lace and cachemire with latex.
Fabrics from the archives have strident and borderline colors, their houndstooth, panther and polka dots patterns contrast with the shiny texture of latex. Everything is a matter of tension between discipline and pleasure, Saint Laurent’s chic is always born from imperfection.
I wanted to find the balance between control and abandonment, the tension between discipline and pleasure that defines the modernity of Saint Laurent. For Saint Laurent, elegance is mandatory but it also goes with perversity; one without the other would only be plain bourgeoisie or vulgarity.
Mister Saint Laurent had a very peculiar vision of bourgeoisie, he almost rejected it. I was really stimulated by that tension this season, it made me want to break the codes that are too conventional. Saint Laurent is about danger.
The sharp and couture-refined tailoring gives Anthony Vaccarello’s silhouettes a distinct and graphic elegance. Sculptural lines, inspired by the eighties, recall the sophisticated and liberated spirit of Betty Catroux, Bianca Jagger and Catherine Deneuve, iconic muses of the house.
Following the strict geometry, the Opium myth of red and gold embroideries turns into new dynamic shapes in precious materials.
For the finale, in the mirrored kaleidoscopic show set, a black light unveils the contemporary, effortless aspect of Saint Laurent’s soul.
“Everything starts from the shoulder construction. The graphic sculptural tailoring gives a sharp sophistication to the liberated impulse of desire” Anthony Vaccarello
For his Spring Summer 2017 collection, Anthony Vaccarello has let himself get carried away by the images of the designer, like ashbacks, snapshots.
In his mind, the picture of Paloma Picasso landing in the life of the couturier, with her 1940s’ second-hand clothes and her very own style. She inspired the 1972 “Scandal” collection which was irreverent and disturbing to the eyes of society.
It is this attitude that Anthony Vaccarello transposes in the present. This Saint Laurent woman who, today, draws her references from the 1980s to make them her own. This girl who cultivates a taste for what is kitsch, the bizarrely beautiful, the great classics and a highly individual style.
The starting point of this collection : a dress with exaggerated sleeves taken from the archives. From this thread, Anthony Vaccarello draws a contemporary silhouette, a sort of sensitive and personal collage.
As though this girl whose fashion culture is part of her, restructured the model, brought the shoulders down, attached a sleeve to a bustier, wore it with jeans or under a boy’s jacket – distant evocation of Saint Laurent’s sailor coat.
Corner stone of the fashion house’s lexicon, the tuxedo impregnates this collection. Exploring the tailoring savoir-faire of Saint Laurent’s ateliers, Anthony Vaccarello deconstructs and revises the tuxedo.
There is a second degree in this collection, a collection within the collection of what Mr. Saint Laurent loved above all: twisting bourgeois conventions and irting with bad taste.