Saint Laurent’s men’s wear under Anthony Vaccarello was presented in New York. Is this another of the brand’s attempt at Americanisation?
When bands in the European continent want to make it big, they record or launch albums in the good ’ol US of A. The Brits, in particular, consider North America the platform for global domination. From the Beatles to Depeche Mode to One Direction, bands see Uncle Sam as the father of immense riches or the repository of accessible pop. In the Trumpian world, could this be America, “the piggy bank that everybody is robbing”?
Fashion designers, like band members, see the allure of the United States too. Anthony Vaccarello is one of them. His spring/summer 2019 men’s wear collection for the house was shown, not in Paris but in the Big Apple, a city that provided, as he told the media, “the idea of New York, the idea of the icons of New York in the ’70s”. If that immediately sounds like a cliché, it is. The Americans have been robbing the accesses of the disco era for a very long time, so much so that many of them can’t forgo the lurid glam headquartered in the nightclub Studio 54. But the French, such as Yves Saint Laurent himself, want to show the Americans how to do it better. Hedi Slimane, Mr Vaccarello’s predecessor, was also seduced by the US. He even showed in—of all places—LA! Even in the West Coast, you can’t say “icons of New York in the ’70s” wasn’t on his mind.
Since Mr Slimane’s remake of Saint Laurent for men, the clothes have been part lost hippy, part rock star, part flashy pimp. Mr Vaccarello has not dramatically change the aesthetic, but has added to the equation part urban cowboy. At the New York show, he styled a sort of downtown dandy, a nocturnal peacock (in a beaded paisley blazer!) that occupies his time mostly hanging out with band mates (still the Pete Doherty vibe?), in the most underground of clubs, under the cover of darkness or the hypnosis of the strobe. It was not easy to see how the clothes would fit any activity of daylight hours, unless your line of work involves, say, entertainment. The outfits were mostly dark in shade, glittery in effects, and slim in silhouette.
In fact, the silhouette has not changed much. Since Mr Slimane exported hipster lean to Saint Laurent from Dior Homme, his successor has not deviated from the look. In fact, skinniness has remained central—a skinniness that has, by now, made oversized and baggy positively more interesting. There isn’t anything inherently wrong with slim-fit, but for those who have moved on to something less of a cling wrap, what Mr Vaccarello is proposing seems a little, well, narrow, or restrictive. The body of today deserves a variety of proportions.
Within the overall slimness of the silhouette, he added Western touches that few men of horse and lasso would consider authentic. Then there were those unbuttoned-halfway shirts underneath leather jackets, punctuated by a neckerchief—throwback to the ’70s that appeared lame against the signature excesses at Gucci. In addition, those sheer sequinned shirts and sleeveless tops that would have more in common with men of a certain age unable to pull away from the past than the young living in the present. Noteworthy too were the surprisingly large number of jeans, more permutations than even Diesel would churn out per season. And what was the body glitter of the finale about? A nod to the month of Pride?
Look closely and the collection persuaded one to think that it is isn’t terribly inventive by design. Similar to Mr Slimane’s initially divisive approach, Mr Vaccarello had created looks using rather basic clothes in nightclub-worthy fabrics to effect his vision of what he thinks the Americans would like: styles of the ’70s, considered the breakout decade for American designers. The thing is, this may be the most exciting men’s wear season in a long while. Eyes and social media accounts will be trained on the debuts of Virgil Abloh at Louis Vuitton, Kim Jones at Dior Homme, Hedi Slimane at Celine’s very first season for men, Jacquemus’s own, and Riccardo Tisci at Burberry. By the looks of it, Anthony Vaccarello probably did not aim to be the first among peers.
Photos: Saint Laurent