How might Yves Saint Laurent have said, “I am the Saint Laurent woman“?
This season, Anthony Vaccarello, in a sense, looks backward. He does so by evoking Yves Saint Laurent himself, or rather, his personal style—from oversized blazers to thick-framed glasses. The result is nothing short of an exceptional collection, sharp and engaging from start to finish. The show opens with masculine tailoring in shades of anthracite, black, and plum, clearly inspired by the French designer, featuring double-breasted jackets and wide, soft yet perfectly cut trousers, embodying a sense of control and power. Some of the looks are enhanced with cotton coats and voluminous leather jackets, while accessories like oversized ties and gold bracelets complete the ensemble. No other Maison is so deeply tied to a female archetype as SL, whose idea of womanhood is complex, far from the seductive perfection of classical muses. Saint Laurent continues to develop what has made the house iconic from the very beginning: the strength of the garments lies in the independent attitude of the wearer, whose contradictions reflect the founder’s personality, a balance between artistic refinement and instinctive desires. This duality emerges in the collection through fluid suits and structured jackets, reminiscent of Saint Laurent’s own style. As a tribute, each look is named after women who have been important to the Maison at various times up to today. The set design of the show evolves Vaccarello’s monumental, evocative Saint Laurent stages: while a dark linear volume is set in a historic courtyard, an oval oculus reveals the night sky; a high golden frieze wraps the space in a warm glow, while the signature blue floor references Yves’ famous gardens in Marrakech.
“My last men’s show in March had been all about tailoring, but based on flou; I wanted this one to be the opposite—more strict”.
The total look of jacket and tie deeply reflects YSL’s aesthetic language, but suddenly Vaccarello surprises with a turn towards evening dresses in brocade and lace: wide-shouldered blazers, sheer blouses, and short, tight skirts appear in shades of fuchsia, bright pink, kingfisher blue, and narcissus yellow, paying homage not only to the Spring/Summer 1989 Haute Couture collection but particularly to Nan Kempner, the New York socialite who was part of Saint Laurent’s creative circle and contributed to the legend of the Opium fragrance launch in New York in the 1970s, a time when Saint Laurent mingled with artists like Andy Warhol. There are also some holiday concessions with the stamp of Loulou de la Falaise, socialite, muse, and friend of Yves Saint Laurent, hidden among shirts with sheer lace, layered ruffled skirts, silk blouses with deep necklines, and floor-length skirts worn with leather or jacquard jackets. In this contrast within the collection, abstract-shaped earrings and extreme stilettos stand out. Hands are intentionally tucked into pockets. Delicate gossamer fabrics, flowing blouses, and structured coats seem perfect for the elite of the era, more comfortable in the lounges of clubs than on the dance floors. Bold accessories like chunky necklaces and curvilinear gold bracelets add further strength to the outfits. Vaccarello shows how, season after season, it is possible to honor the founder’s legacy while renewing the Maison’s identity with a contemporary and bold vision. The multifaceted appeal of the YSL woman has evolved over time, embodied by a group of models selected not only for their uniqueness but also for how they represent a new feminine ideal. A collection that is and will be unmistakably and undeniably Yves Saint Laurent.
“It’s not about when I would do a tuxedo for a woman which was worn naked underneath. The suits come with shirts, ties. You’re dressed. It’s about control, and power, in a way”.
