In 1956, two years after Christian Dior’s premature death, 21-year-old Yves Saint Laurent — Dior’s designer assistant, tortured genius, prolific inventor and owner of the 20th century’s most notable initials— was thrust into the limelight. More than a mere hemline issue, his first collection was a life or death situation. The verdict was unanimous: Saint Laurent saved France! His first collection was smart, radical and feminine. Decades later, Anthony Vaccarello— Belgian designer prodigy, creative director of Saint Laurent and fashion’s game changer— designed what seems to be strong, seductive and smart collection for Fall/Winter 2018/2019. Using the Eiffel tower as a backdrop for the second time around, he presented potent pieces, resembling the ones Tom Ford used to envision for the iconic maison in early 2000’s. At the backstage after the show, Vaccarello noted that he was inspired by “the Russian collection of Monsieur Saint Laurent, but with more of a Parisian direction.” He name-checked Loulou and Betty [de la Falaise] and [Catroux], and theme-checked bohemian, street and tailoring.
Vaccarello is consistent in his work, offering predictive, seductive pieces with strong, almost obligatory emphasis on legs. The collection varies from black leather shorts, large-shouldered eighties silhouettes, skinny jeans and intriguing cleavage. Almost exclusively designed for the millenials, the collection is attractive and youthful. Regular black ankle boots are reinvented with a silver buckle and a new platform shape; stunning fur-cuffed suede stiletto knee boots are footwear of the season! In the midst of black outfits, it was almost impossible to detect the delicate detailing such as the immaculate embroidery, alluring tassels and fringes. With the right amount of angles and curves, Vaccarello’s beautiful designs are the epitome of ready-to-wear. Provocative, eye-catching tops, lean coats, sophisticated dresses offer a variety of choices, matching Saint Laurent’s temperament and creativity in a comprehensive way.
Photo credit: The Impression