paris fashion week: anthony vaccarello

(images via style)

are you ready to dive into the last quarter of our month of major fashion shows? indeed, towards the end, i find myself forgetting what it was ever like to arise without a slew of new events to drown in pictures of, but alas, our time is almost at a close, and with it, the part that most of the fashionies are waiting for: paris fashion week! unfortunately, i think with certain awards shows moved up in the year, some of the exhibitions of the first day tend to be overshadowed a bit, so i suppose that’s why the event’s organizers like to open with that flesh-show-on-wheels that is anthony vaccarello.

as i’ve said many a time before, with the turn of each season (see f/w 2011, s/s 2012, f/w 2012, s/s 2013), the belgian-born designer’s work tends to get a little more sultry, finding innovative new ways to exhibit the goods for all the world to see, and thus, i was actually a little taken aback with regards to his latest effort, for the f/w 2013 season, which looked…almost tame in comparison. sure, there was still heavy skin on display, and probably a lot for any other atelier, but…there were pants! and some very good ones, too!

ah, well. i guess i should admit i’m probably never going to be a hardcore vaccarello loyalist, if only because, yannow, if all the feminists are going to come out of the woodwork for a silly/funny song about breasts, then i’d like to argue just the same, why does this kid thing the most important thing in a woman’s life is her sexy dress? and, yannow, working her life like a runway with all the rest of us just thronging to see it (apparently).

to be sure, i don’t believe there’s anything wrong with nudity, or sexuality, and i actually think that once these feminists realize seeing cleavage could be a symbol of liberation, and not one of oppression, we’d probably be better off, but nevertheless, i also agree there’s a time and a place for it all. and women also need, like, respectable, work-going clothes. after all, whatever power men have, we don’t often see them at the office in a g-string.

right, so. i guess ultimately i should stop going down that track and merely try to look at mr. vaccarello’s work, as, like, sexy special occasion-wear, and leave it at that. besides, after all, i think one could easily argue he was going in for a more versatile look come fall, with a plethora of nice, tailored separates spacing out some of the sheer panels on dresses and the like. suvi koponen’s opening trousers and trench were downright demure, while bon don’s menswear-style shirt, um, donned with an asymmetrical mini suggested something of a menwear–read: covered-up–influence.

and really, i thought that it looked quite good. that isn’t to say, of course, that there aren’t going to be those fashionies scampering in for, like, isabeli fontana’s sheer side-paneled closing dress, or the mesh skirted affair (that was practically a top with no underwear) that sam rollinson found herself on the catwalk in (the subject of many an embarrassing dream, though this time come true, non? or maybe a good dream for some fashionettes, just the same), but it appears mr. vaccarello has learned–to some extent, at least–that these numbers can’t hold him aloft alone.

and so, as i’ve vocalized quite enough on the subject, are you ready for some critical commentary? right, then. so as wwd explained, “(s)till loyal to minimal black and white (unless you count silver hardware as a color) and maximal sex appeal, the new ingredient in Anthony Vaccarello’s formula for fall was structure. By tightening up his silhouette, working his mannish daywear and skimpy dresses in trim tailoring, the designer made the look more modest than it’s been in the past — even when it came to microscopic minidresses that seemed sliced off for an asymmetrical hem and spliced with panels of grommet mesh.”

and they continued along briefly enough to add that “(t)he precision of cut and methodical use of hardware, including some seriously sharp spikes that trimmed leather minis and were pierced through low-slung leather belts, had a polishing effect on an otherwise predictable lineup. Vaccarello can do racy clothes in his sleep, but as even the hottest couples know, once it becomes routine, it loses steam.” aha! you see there!?

anyway, in another (and very humourous) turn, new now next reflected that “(s)ure, he still showed off those amazing laser cuts and skimpy dresses that seem to only look good on Anja Rubik and Karlie Kloss, but beyond that the entire collection was downright demure for Vaccarello, with barely an upper thigh or midriff to be seen. Take a look above at the gorgeous pants(!) and jackets (!!) and spiked shoes the promising young designer sent down the runway.”

and, finally, we heard from vogue, offering that the designer was “referencing, as he put it, ‘the sixties through the eyes of the nineties.’ From the sixties, he took a silhouette that was new for him: straighter, tailored, one which spent less time mapping out the curves of the body, and an elegant, usually ladylike, wool crepe, resulting in short coats and neat small jackets that finished just below the waist, both embellished with leather banding and metal adornments….As to the nineties, that would be the top notes of lean androgyny in the form of those second-skin pants cut from paper-thin hides, or the combination of mannish coats over narrow trousers worn with spindly, resolutely non-platform heels.”

(check out the collection video here)

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