A few days ago Anthony Vaccarello placed a video clip of the Amalia Vairelli model on his Instagram account. She is one of those completely beautiful YSL women, the kind that ruled the catwalks of Monsieur Saint Laurent in the nineties, when the legendary past of the designer overshadowed everything, including herself. Off camera someone asks Vairelli: “Amalia, what is Saint Laurent, a memory of Saint Laurent?” Vairelli blinks the most beautiful winning smile while her answer – and a lifetime of memories of the man – comes to her. “It’s love,” she says. “Love, unspoken words.”
One of the things that has been run through my head shows this run of Paris how much creativity and emotion are married together. It seems that you can really have one without the other, and they work best when all artifices and pretension are removed when they are in Lockstep. Anthony Vaccarello, if his autumn 2025 collection for Saint Laurent was something to start, is of the same mindset.
There was something tenderly steeped in the feeling of being going on here; A sensitivity, even a vulnerability this was not a ridiculous fashion-you idea from Catwalk Valkyries. Instead of having an unabashed beautiful and respectful exercise simply cut, construction and color – and which major, important color: fuschia, coral, amethyst, ocher, emerald, citrine, terracotta and olive et Alt Alto“Do what they have to do. Just like Vairelli’s memory of Saint Laurent, it was love without having to speak. The clothing said it all.
Except, of course, American journalists are backstage before the show starts, that vaccarello under quizzes he thought of this season, and he is Gamely and good humbling what he thought. “I wanted something clean, without decoration, no decoration, no … nothing,” he said. “To just push the silhouette into these saturated colors – it is the most color I have ever done – in washed satin and technical sweater, which I have never used before, for a feeling of stretch. I really loved this idea of elasticity, of movement – all to give a sense of freedom. There is really no structure; The parts come from the shape of the clothing and the fabrics – and everything is light. “
Vaccarello referred to Saint Laurent’s Haute Couture Collections from the 90s, a favorite period of him partly because the fashion world was preaching at that time that YSL was terrible demodersAnd that offers the perfect opportunity for re -evaluation. Vaccarello’s silhouette started bravely on the shoulder and tapered to the hem – an inverted triangle – for his lively high collared coats that were derived from visible fixings, gently sash strap on the hip; Usually completely unadorned pocket dresses, except the version in Guipure Lace; Bow -Rugblouses with narrow skirts (there was no pants in sight); And what has become so omnipresent YSL for the house as the tuxedo, thanks to Vaccarello, the leather blouson, all insouciant posture with its bold shoulders and shoulder -killing Swagger.