At the stroke of the evening lighting of the Eiffel Tower, Anthony Vaccarello lights up the platform of the Maison De Verre, with a huge sculpture of light and water in the center that make the set-up of an almost magical Spring-Summer collection, bringing back that special relationship between man and art.
The same relationship that did not leave Yves Saint Laurent indifferent when in New York he met Andy Warhol, or in Barcelona he met Picasso, becoming friends with both of them.
How Anthony Vaccarello’s choices has been influenced by this bond can be seen in the first looks that appear on the catwalk, defining an inclusive aesthetic, where short hair and lacquer red lips are nothing more than a tribute to Paloma Picasso, icon of Latin hedonism.
A moment of great sensitivity that defines a creativity that turns into a Parisian style icon, for those generations who rethink physicality and sexuality, underlining the crucial importance of women who have absolute power over their body, especially at a time when there are many challenges facing us for the future.
The broad-shouldered jackets harmonize with the proportional juxtaposition of three-quarter sleeves, while denim are lanky with a high waist, skinny pants cut in spandex and jumpsuits that play seduction on the feminine body.
Saint Laurent’s woman is always super-equipped with iridescent leather gloves in warm tones that refer to the colors of Pop Art where great jewels rest.
The viewer’s eye runs and lingers on the clutch that has slipped into the belt of his trousers, which immediately reminds us of Paloma Picasso in a theatrical program that exhibited it as an image of aristocratic bravado, amplifying the sense of light-heartedness of the past.
A very dressed up collection that dresses a lot in a politically correct aesthetic, but, at the same time, imagines a feminine idea that nourishes an imaginary mix of seduction and sensuality.