Paris (AP) – In St. Laurent, Anthony Vaccarero dialed the drama Monday night Paris Fashion Week There is a set of giant white flowers that approach like a cinematic background. When Bloom hinted at delicateness, the clothes talked about another story: big, bold, and not afraid of excess. Madonna was in attendance, and sometimes she stole the focus – a burst of Razmatas on and off the runway that already prevented the show’s opera accusations.
The floor cleaning gown was ruffled with ruffles, evoking archival works from the 1970s and petals spreading in Twilight. They were not as garments as visual arguments (the visual arguments where “beauty as a plural” was declared.
The designer has reached new heights throughout his tenure, with a tendency towards oversized. The huge, crisp bow collar sharp enough to cut the air, reflected the shoulders of exaggerated power that had swayed the silhouette in the early 80s and became the signature of St. Laurent. Meanwhile, Seany’s trench coat is leaned to grab the bone structure and folds up a wrinkled fabric like the outline of a rose.
Vaccarello mined the heritage of Saint Laurent. The echo of “Madame X” by John Singer Sargent, a leather-covered heroine from Maplettopo, Rive Gauche’s Bourgeois Chic, has stripped her of nostalgia. He often likes what is called “no decoration, no decoration, no decoration, nothing.”
It was a pure theatre. Both the heroine and classical St. Laurent’s woman, the figures of resistance and charm, swept the runway. Vaccarello reminded the industry why his St. Laurent’s style as a discourse, not about clothes, but about couture as a conversation.
