The silhouettes were strong and empowered by dusky textures with pops of beam, connecting a traditional YSL lover with an unerring yet youthful feel. The focal starting point for the collection symbolised Marrakech in the ‘70s, reimagining a 21st century Los Angeles, city that resides in Antony’s expressive landscape – in fact, the city was firstly visited by the designer at the age of 14; ever since that date, he returned numerous times. Although one might not consider the following element as imperative, both locations own a longing for a somewhat Bohemian, free-spirited and illusionary escape.
Afro-American customs were merged together with utter mindfulness, powerfully expressed through the use of colour and motifs across the entire collection, alluding to a heterogeneous consideration of artistic flair. As per, YSL crafted an enduringly charming range of sophisticated apparel, encompassing pieces like tasselled hoods, djellaba shirts and clothing profusely pervaded of embroidered details, amplifying the rigour channelled by the French Maison into more of a phlegmatic approach to tailoring. A ruthless “tailoring vengeance” or simply a thunderstorm of sartorial classicism? After all, how could one possibly persuade a generation grooved to the streetwear wave to opt for slick elegance abruptly? Other pivotal reference for the collection was Mick Jagger, part of the Rolling Stones tour back in 1975, dressed in gloss and glitter decors.
Furthermore, Vaccarello took the opportunity to propose an androgyne glamour of the ‘70s reflecting on today’s trends. Gender fluidity was, unsurprisingly, at his idealistic core: as noticeable in most of the apparel, the ensembles were divided into docile and sparkling sections of hues, nodding to a notion of understated chromatic chaos. The visual anatomy encapsulated by the designer was envisioned by proportions and sensational cuts, as traceable by the tremendous line-up of purposeful silhouettes, able to gratify an eclectic yet cutting-edge demographic.
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