On a Friday morning that felt like the end of an era, Anthony Vaccarello confirmed he will leave his role as creative director of Saint Laurent after ten years. The declaration arrived just after a spectacular showcase at Paris Fashion Week where Vaccarello turned the iconic archives of Yves Saint Laurent into a personal farewell tableau. By echoing the legendary gold-laden finale of the 1991 Rive Gauche runway and then dimming the lights with a procession of black evening wear, the show functioned as both homage and elegy.
Vaccarello’s final runway: gold, black and a nod to history
The collection opened with a cascade of gilded ready-to-wear pieces that instantly recalled the opulent closure of Saint Laurent’s fall-winter 1991 show, when the runway was awash in gold fabrics. As the garments progressed, the palette inverted, culminating in a procession of blacked-out silhouettes that resembled a glamorous funeral march. When asked about the recurring motifs, Vaccarello laughed, saying, “When people say, ‘Oh, it’s repetitive,’ I love that.” He added, “I like that when you leave the show, you have in mind the silhouette of the season” underscoring his belief in a single, essential shape per collection.
Ten years of defining a brand’s modern identity
Vaccarello entered Saint Laurent in 2016 after gaining notoriety for his razor-sharp cuts and sensual aesthetic at Versus the diffusion line of Versace, and for the brief run of his own eponymous label, which he closed upon his appointment. Over the decade, he cultivated a singular vision that married the house’s heritage with a contemporary, svelte sensibility. He routinely referenced Saint Laurent’s signature moments—Le Smocking, the women’s tuxedo, the Saharienne jacket—and even its less celebrated 1990s era, once labeling that period “not cool.” While some critics argued his focus was limiting, Vaccarello maintained that a disciplined, repeatable silhouette could be “the essential” that anchors a brand in a rapidly shifting market.
Industry reset and parallel narratives at other houses
The spring-summer 2026 season sparked a sweeping reset across luxury fashion, with more than a dozen major houses swapping creative directors—Dior, Chanel, Gucci and Balenciaga among them. In that climate, other designers are also navigating legacy and reinvention. Miguel Castro Freitas the new creative head of Mugler presented his spring-summer 2027 collection by mining the Les Insectes couture show from spring 1997, juxtaposing animalistic tailoring with contemporary ready-to-wear. Drag performer Alexis Stone attended the Mugler runway dressed in a homage to Manfred Thierry Mugler, complete with a personal brooch, an appearance that sparked debate over the line between tribute and gimmick.
At DiorJonathan Anderson offered a light, flouncy palette while still indulging the brand’s love of layers, jewelry and statement shoes. The collection shone brightest when a single piece—such as a weightless, core-setted dress or a sheer jacket paired with a short skirt—was allowed to dominate the frame. Meanwhile, Antonin Tron at Balmain embraced the house’s gilded fantasy but left the question of Pierre Balmain’s original DNA somewhat unanswered. Drew Henry newly installed at Courrèges revisited the founder’s 1960s space-age aesthetic through updated textures and vibrant colourways.
Perhaps the most biographical reinterpretation came from Matthieu Blazy at Chanel. Rather than repeat the classic tweed suit, Blazy excavated Gabrielle “Coco” Chanel’s early life—her Edwardian youth, fascination with menswear, and admiration for Edgar Degas—to craft a collection that oscillated between daring sheer lingerie looks and the timeless black skirt suit, each model carrying an archival Chanel bag from the house’s Patrimoine department. When reflecting on his own longevity, Vaccarello earlier noted, “I always think that it’s hard to do a good job several times” and he singled out Blazy as a peer who is “getting it right the second time around.”
