AS THE darkness of the evening drenched Paris, at the Trocadéro behind the Eiffel Tower, three enormous chandeliers lit up the stage of Anthony Vaccarello’s tenth-anniversary show for Saint Laurent. Taking inspiration from those hanging in the Imperial Salon of the Hôtel InterContinental, a location deeply connected to the Maison’s couture history, a feeling of deep significance was immediately set. With rumours flying around that this may be the designer’s final bow, anticipation for what would arrive was high.
The answer: a 59-look gilded spectacle that transformed the House’s archive and Vaccarello’s own decade-long vocabulary, utilising gold as a metaphor for Yves Saint Laurent, luxury and light. The Creative Director posed the question: what would happen if you dipped the House codes in gold? And not just in the small details – he wanted to drench the familiar archetypes in it.
The Spring/ Summer 2027 collection moved between the different shades of this colour, shifting from pale to antique, Byzantine, burnished, matte and then industrial gold. This decision, albeit theatrical, has an intrinsic connection to the brand; it was one of Yves’ most beloved colours to dress women in, and famously brought the dramatic end to the AW91 Rive Gauche show – and potentially, a deliberate grand finale for the Belgian.
Opening the show, the gold idea was immediately established rather than gradually building towards it. A gold safari-style bomber with a pencil skirt created a collision between Saint Laurent’s utilitarian heritage and evening glamour; swiftly following were gold trenches and metallic tailoring.
The collection felt like a Saint Laurent greatest hits, but with the volume turned all the way up. From fluid blouses and tuxedo-inspired tailoring to billowing evening dresses and sharply defined shoulders, the founder’s influence was alive in the seams. The choices felt even more supercharged as Vaccarello picked from the framework that altered women’s fashion, reviving now-renowned silhouettes that were both deeply feminine and empoweringly masculine.
His own effect was equally as prominent. High stilettos, oversized jewellery and fur trimmings were in full swing, alongside dramatic bows; transparent materials like guipure lace, organza and mousseline; and cropped proportions, bringing together a controlled masterpiece of nocturnal, yet undeniably sexy, looks.
Then, just as if someone had blown the candles out on the chandeliers, the collection suddenly turned black for the final ten looks. Lamé, jacquard and metallic cotton evolved into black velvet, tulle and crystal embellishment, signalling more than ever that this might be a goodbye. But Vaccarello wasn’t asking us to mourn; he was inviting us to go into the night with him.
Whilst nothing has been confirmed, if this were to be Vaccarello’s final collection, it was nothing short of one of the greatest swansongs in fashion history. Not only was it a statement of what he has been able to achieve over the past decade, celebrating the motifs that have both defined Yves and his own Saint Laurent, but a stark reminder that very few designers have been able to continually hit the mark every season quite like him.
The final line of the show notes simply states: “What passes sometimes leaves more light than what remains.” And in Vaccarello’s case, it could light up Paris.
by Imogen Clark