At Saint Laurent Spring 2027, Anthony Vaccarello Claims His Golden Finish
Ten years into his tenure, the designer delivered a dazzling gold-and-black collection that played like a spectacular farewell.
For several weeks now, talk has circulated that Anthony Vaccarello, ten years into his tenure at Saint Laurent, may leave the house after this season. Last night’s show under the Eiffel Tower Paris certainly hinted this is the case.
“A light shines all the more brightly because we know it cannot be held. What passes sometimes leaves more light than what remains,” Vaccarello wrote in his show notes. He could be speaking of the night’s clothes, his own time and work at the house, or of course both. The spring 2027 show was a dramatic one—three towering gold chandeliers lit up a black lacquered runway with the sparkling tour Eiffel in the background. Rosé, Francis Ford Coppola, Kate Moss, and Zoë Kravitz watched as Charlotte Gainsbourg sang. Then there were the clothes themselves: complete showstoppers—first in luminous, shimmering, crinkling gold then progressively darker gold looks that turned to black in the finale. It was an ode to Yves Saint Laurent’s fall 1991 Rive Gauche collection, done in reverse.
Vaccarello’s exploration of gold in all its forms was spellbinding: A gold lamé oversize safari-style bomber and pencil skirt slit up the front started the offering. Then came shining gold trenches and shimmering, twinkling coating with warm gold light reflecting. Slinky gold wrap dresses with ’80s power shoulders and beautiful amber slip dresses with low waists, embroidery at the neckline, and crinkled shirting merged YSL and Vaccarello staples. A collarless mini coat-dress with fur-lined sleeves married opulence with formality. Look after radiant, feminine look wowed. Materials and technical experimentation ran from organza to lamé, guipure lace, brocade, jacquard, mousseline, metallic cotton, and latex coated in gold leaf. Vaccarello has always been a devotee of true craft in luxury, and this finale celebrated the hands that bring the garments to life.
The final black looks were all romance. Anja Rubik wore a velvet black wrap dress with shimmering jeweled brooches as buttons and an exaggerated bow at the waist, a signature of Vaccarello’s. Voluminous sculptural gowns closed the collection. There was a lightness to these last offerings, a celebration of the house and the Belgian designer’s signatures that now define it.
