If you ever need a quick musical pick -up, I can highly recommend that the Divine Françoise Hardy Haar Fabbo 1966 number perform Your Changerais d’Avis On YouTube. It is completely she, a beautiful exciting symphonic song. And then there is the version itself, all the shiny pop art jackets and that blunt, straight sheep hair that blows (via wind machine) when the choir starts. In 1966, Pop belonged to the US and the UK in 1966, but along Hardy, Hardy music and more specifically, French female vocalists-on the map, not to mention those cocks, and that of her life, and perpendicular, and the life of Heerse, and the life of Heerse, and life in the first day.
Yet 1966 is also remarkable for another French phenomenon: the launch by Yves Saint Laurent from his Rive Gauche-Kant-and-Kone label. (The house had been strictly haute couture until that moment.) It changed everything; Fashion would no longer be powered by the hauteur of the Paris Couture salon, but the pulsating energy of the street, right around the world. It’s Those Two Moments That Anthony Vaccarello Brings Into A Coolly Chic Conversation with This Collection, Mining the First Rive Gauche Offerings For Their Contemporary Relevance (The Ease, The Modernity, The Lack of Fuss, and, the Checks, and, the Checks, and, the Checks, and, Oh, Oh,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and,, and, alternity). Casual, Boyish, Shrug Of The Shoulders Style That Could Make the Dressed-Up And The Dressed-down Coexist in Perfect Harmony.
For Vaccarello it comes down to a few important ideas, appearance and pieces. There are large, bold and here is a word that they would not have used in 1966-leather jackets, with everything, from Kurt-like tartan shirting to Catherine Deneuve (approximately the 1980s) shiny croc effect pencil skirts. Another option option: Vintage-Y Blousons, on top of reverse folds controlled skirts, the Uber-Bourgeois atmosphere reinforced with the substantial, statement-you gilt bracelets and earrings.
Among the seriously good coats that were offered, Vaccarello also thought the time to do a masculin/female Blazer from the 70s, again in one of his omnipresent checks (from Plaid to Prince of Wales). It would be absolutely great with the more everyday combination of jeans, but here he plays against dramatic, evening floor length corruged skirts that are gone to be gone to be much shorter: party at the front, ballgown on the back. To underline the idea of convenience, instead of Frou-Frou Blouses, those lagging, couture-like skirts were also collaborated with T-pieces and sweaters.
That is how Vaccarello has transported his Saint Laurent back to that crucial year of 1966, while he is also fully aware that almost 60 years have passed. There is a tacit recognition that the life of women is in a completely different place (we certainly hope all) from where they were then, and really, of course, also fashion. Today it is about designing clothing that can run the border between reality and fantasy, and the responsibility that goes with it, especially in a house loaded with history.
Even when vaccarello goes into a more boudoir atmosphere with his lingerie -inspired dresses, they are slipping under oversized jackets and worn with dizzying leather boots. However, the message remains the same: we still need clothing that we can dream about, perhaps more than ever, but fashion is really something loved, worn and live. Don’t think about it.