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Toronto Star
26-06-2025
- Entertainment
- Toronto Star
Saint Laurent opens Paris Fashion Week at Pinault's art palace with a show of force
PARIS (AP) — It-designer Anthony Vaccarello on Tuesday sent out a Saint Laurent men's collection that felt both sun-drenched and haunted, set not just in the heart of Paris, but drifting somewhere between the city and the legendary queer enclave of Fire Island in New York. Staged at the Bourse de Commerce, the grand art palace and crown jewel of Kering 's Pinault family in the French capital, the show paid tribute to Yves Saint Laurent's own history of escape and reinvention.
Yahoo
25-06-2025
- Entertainment
- Yahoo
Saint Laurent Men's Spring 2026: Color – and Shirts
A Saint Laurent show before dark? Yes, it happened on a sunny Tuesday afternoon and it was delightful, staged in the rotunda of the Bourse de Commerce art museum, where the fashion pack could also enjoy a mesmerizing installation by French artist Céleste Boursier-Mougenot of white ceramic bowls drifting across a shallow basin of pool-blue water, occasionally colliding and producing soothing pings. More from WWD Beyoncé Knowles-Carter and Jay-Z Blend Modern Western Style and Parisian Cool in Black Shoes for Louis Vuitton Men's Spring 2026 Show Amelia Gray Anchors Slouchy Menswear Look With Extreme Point Oxblood Heels for Saint Laurent Men's Spring 2026 Show Jacques Solovière Set to Open Second Paris Store During Men's Fashion Week There was nothing as simple as blue and white in the men's collection by Anthony Vaccarello, who is tightening his grip on sophisticated color combinations as an immediately recognizable YSL brand code. He reprised the ocher-khaki combination from his terrific fall women's collection, also sliding together mint and navy, and blending together more autumnal shades, too, like gold, forest green and bordeaux. (The shades in Larry Stanton portraits were a reference.) Vaccarello's bean-pole models filed around the pool with a nonchalant attitude, their hands shoved into the pockets of jaunty little shorts, or tapered, multipleat pants with an '80s vibe. All of them wore outsized acrylic sunglasses that brought to mind the ones Johnny Depp famously sported in 'Charlie and the Chocolate Factory.' It was an about-face in mood from Vaccarello's Robert Mapplethorpe-esque fall 2025 collection, which WWD described as 'desk to dungeon' as everything was worn with black leather thigh-high boots, which have already pretty much sold out, by the way. 'Less dark, more light, more sensual — more fun,' was how the designer summed up his spring effort, meant to evoke 'a suspended moment' somewhere between Paris and Fire Island in the '70s. Tucked into the show program was a black-and-white snapshot of founder Yves Saint Laurent on the tennis court circa 1950, his gangly legs poking out of jaunty shorts just like those on the runway. But Vaccarello poured most of his design energy into shirts, which were sensational, with jutting shoulders thanks to extra-long, removable stays, and generous '80s volumes that billowed over those tapered trousers, some with paper-bag waists. The shirts came in fluid silks with military pockets, or nearly sheer technical nylons in surprising colors like lemon and persimmon. Some were cropped like bomber jackets; one resembled an anorak and was tucked in neatly. Tailoring followed the same fluid lines, and solid-colored silk neckties were worn with every exit, tucked into the shirt between buttons three and four. 'It's a simple gesture, but it gives another perspective of the silhouette,' Vaccarello said. 'It's less strict, less in an office.' Thanks for the styling tip, and the early call time, Anthony! Launch Gallery: Saint Laurent Men's Spring 2026 Ready-to-Wear Collection Best of WWD Windowsen RTW Spring 2022 Louis Shengtao Chen RTW Spring 2022 Vegan Fashion Week Returns to L.A. With Nous Etudions, Vegan Tiger on the Runway
Toronto Star
24-06-2025
- Entertainment
- Toronto Star
Secrets and longing surface as Saint Laurent menswear parades at Pinault's art palace
PARIS (AP) — It-designer Anthony Vaccarello on Tuesday sent out a Saint Laurent men's collection that felt both sun-drenched and haunted, set not just in the heart of Paris, but drifting somewhere between the city and the legendary queer enclave of Fire Island in New York. Staged at the Bourse de Commerce, the grand art palace and crown jewel of Kering 's Pinault family in the French capital, the show paid tribute to Yves Saint Laurent's own history of escape and reinvention.
San Francisco Chronicle
24-06-2025
- Entertainment
- San Francisco Chronicle
Secrets and longing surface as Saint Laurent menswear parades at Pinault's art palace
PARIS (AP) — It-designer Anthony Vaccarello on Tuesday sent out a Saint Laurent men's collection that felt both sun-drenched and haunted, set not just in the heart of Paris, but drifting somewhere between the city and the legendary queer enclave of Fire Island in New York. Staged at the Bourse de Commerce, the grand art palace and crown jewel of Kering 's Pinault family in the French capital, the show paid tribute to Yves Saint Laurent's own history of escape and reinvention. Star power in the front row, including Francis Ford Coppola, Rami Malek, Aaron and Sam Taylor-Johnson, and house icon Betty Catroux, underscored the label's magnetic pull. Oversized shorts, boxy trenches, and blazers with extended shoulders riffed on an iconic 1950s photo of Saint Laurent in Oran, but they were reframed for a new era of subtle, coded sensuality. Flashes of mustard and pool blue popped against an otherwise muted, sandy palette — little jolts of longing beneath the surface calm. Yet what truly set this collection apart was its emotional honesty. Vaccarello, often praised for his control and polish, confronted the idea of emptiness head-on. The show notes spoke of a time 'when beauty served as a shield against emptiness,' a phrase that cut deep, recalling not only Saint Laurent's own battles with loneliness and addiction, but also the secret codes and guarded longing that marked the lives of many gay men of his generation. That sense of secrecy was everywhere in the clothes: ties tucked away beneath the second shirt button, as if hiding something private; sunglasses shielding the eyes, keeping the world at a careful distance. These weren't just styling tricks, they were acts of self-preservation and subtle rebellion, evoking the rituals of concealment and coded desire that defined both Fire Island and of closet-era Paris. For generations, Fire Island meant freedom for gay men, but also the risks of exposure, discrimination, and the heartbreak of the AIDS crisis. Fashion rivalry and a famous venue If the installation of artist Céleste Boursier-Mougenot's pool of drifting porcelain bowls spoke to the idea of beautiful objects colliding and drifting apart, so too did the models: together on the runway, yet worlds apart, longing and loneliness held just beneath the surface. This season's blockbuster staging felt all the more pointed as Kering faces tough quarters and slowing luxury demand. The group leveraged one of its artistic crown jewels, Saint Laurent, and a dramatic museum setting to showcase creative clout, generate buzz and reassure investors of its cultural muscle. The venue itself — home to the Pinault Collection — embodies that rivalry at the very top of French luxury. The Pinault family controls Kering, which owns Saint Laurent, while their archrival Bernard Arnault helms LVMH and its Louis Vuitton Foundation across town. This season, the stakes felt especially high as the Saint Laurent show came just hours before Louis Vuitton's own, throwing the spotlight on a Paris fashion power struggle where every show doubles as a declaration of taste, power and corporate pride. If the collection offered few surprises and leaned heavily on crowd-pleasing shapes, it was undeniably salable, proving that when a house this powerful plays to its strengths, few in Paris will complain. A collection for those who have ever wanted more, and learned to shield their hearts in style.
Winnipeg Free Press
24-06-2025
- Entertainment
- Winnipeg Free Press
Secrets and longing surface as Saint Laurent menswear parades at Pinault's art palace
PARIS (AP) — It-designer Anthony Vaccarello on Tuesday sent out a Saint Laurent men's collection that felt both sun-drenched and haunted, set not just in the heart of Paris, but drifting somewhere between the city and the legendary queer enclave of Fire Island in New York. Staged at the Bourse de Commerce, the grand art palace and crown jewel of Kering 's Pinault family in the French capital, the show paid tribute to Yves Saint Laurent's own history of escape and reinvention. Star power in the front row, including Francis Ford Coppola, Rami Malek, Aaron and Sam Taylor-Johnson, and house icon Betty Catroux, underscored the label's magnetic pull. Oversized shorts, boxy trenches, and blazers with extended shoulders riffed on an iconic 1950s photo of Saint Laurent in Oran, but they were reframed for a new era of subtle, coded sensuality. Flashes of mustard and pool blue popped against an otherwise muted, sandy palette — little jolts of longing beneath the surface calm. Yet what truly set this collection apart was its emotional honesty. Vaccarello, often praised for his control and polish, confronted the idea of emptiness head-on. The show notes spoke of a time 'when beauty served as a shield against emptiness,' a phrase that cut deep, recalling not only Saint Laurent's own battles with loneliness and addiction, but also the secret codes and guarded longing that marked the lives of many gay men of his generation. That sense of secrecy was everywhere in the clothes: ties tucked away beneath the second shirt button, as if hiding something private; sunglasses shielding the eyes, keeping the world at a careful distance. These weren't just styling tricks, they were acts of self-preservation and subtle rebellion, evoking the rituals of concealment and coded desire that defined both Fire Island and of closet-era Paris. For generations, Fire Island meant freedom for gay men, but also the risks of exposure, discrimination, and the heartbreak of the AIDS crisis. Wednesdays Columnist Jen Zoratti looks at what's next in arts, life and pop culture. Fashion rivalry and a famous venue If the installation of artist Céleste Boursier-Mougenot's pool of drifting porcelain bowls spoke to the idea of beautiful objects colliding and drifting apart, so too did the models: together on the runway, yet worlds apart, longing and loneliness held just beneath the surface. This season's blockbuster staging felt all the more pointed as Kering faces tough quarters and slowing luxury demand. The group leveraged one of its artistic crown jewels, Saint Laurent, and a dramatic museum setting to showcase creative clout, generate buzz and reassure investors of its cultural muscle. The venue itself — home to the Pinault Collection — embodies that rivalry at the very top of French luxury. The Pinault family controls Kering, which owns Saint Laurent, while their archrival Bernard Arnault helms LVMH and its Louis Vuitton Foundation across town. This season, the stakes felt especially high as the Saint Laurent show came just hours before Louis Vuitton's own, throwing the spotlight on a Paris fashion power struggle where every show doubles as a declaration of taste, power and corporate pride. If the collection offered few surprises and leaned heavily on crowd-pleasing shapes, it was undeniably salable, proving that when a house this powerful plays to its strengths, few in Paris will complain. A collection for those who have ever wanted more, and learned to shield their hearts in style.
