Sex sells, and the French haven’t forgotten that. It’s why Anthony Vaccarello opens Paris Fashion Week every season with his evocative onslaught of femmes fatales and the power dresses he so barely slips them into. For spring, the designer served double-duty: his Versus Versace capsule was a tantalizing treat in New York City (all billowing shirt trains and perforated leather), while his eponymous line sent a sexed-up shock through our sails in Paris with its portside premise of nautical, utility chic.
That said, there were two main themes running riot through Vaccarello’s mind for his namesake spring collection, as a story of workwear textiles and burnished hardware careered headfirst into a geometric explosion of fragmented typography—both of which were wrapped and folded around the designer’s micro skirts, skinny blazers, and plunging party dresses. There was a new sense of ease and draping throughout this collection as Vaccarello played opaque versus sheer and stiff versus fluid textiles against each other with aplomb. His antiqued brass eyelets, D-rings, and sleeve tabs proved both functional and decorative; belting, perhaps, a dress over one shoulder, or cinching the waist of a stiff men’s-style trouser.
Deliberately foregoing print this season, Vaccarello explored stripes instead, sending them skirting their way around thighs in a pointy denim mini or floating across the bust in one of his sheer, silk riffs on the Breton top. They also defined one of the designer’s most deconstructed (dare we say Belgian?) propositions to date: a series of angular, crèpe evening dresses that appeared to be steamrolled with blown-up patent-leather letters in monochromes and a splash of lipstick red. Backstage, Colette’s Sarah Andelman revealed she’d be showing the sweater version in her daily revolving Fashion Week window as of tomorrow. With her eagle-eye ability to zone in on one look per day, we’re betting that window is one to watch—like Vaccarello—come hell or high water.