These were contrasted with a series of billowing gowns. The first, a series of barely-there high necked halterneck minis with cut away backs that echoed the high hemlines that ardent Saint Laurent fans have come to expect of the brand, conspicuous in their absence otherwise but something that Vaccarello said he has now tired of. Masculine-inspired silhouettes gave way to a collection of dresses in two halves. Humphrey Bogart-esque oversized coats again conjured the spirit of pilots and adventurers but with an air of quiet luxury. Shoulders were broad and the fit of blouses deliberately oversized, but with the waist highlighted to create a louche, pared back silhouette. The result? A catwalk delivering a chic take on utilitarian in an earthy palette of beige, khaki and sand. The typically masculine look was feminised with oversized gold jewellery and towering stilettoes, creating some seriously flattering jumpsuits with plenty of edge.Īfter a previous collection of tailoring and eveningwear, the reset button was firmly pushed for the season ahead with crisp cotton shirts, cargo trousers and pencil skirts taking centre stage alongside shirt dresses. Show notes paid homage to female pilots Amelia Earhart and Adrienne Bolland, with opening looks reflecting the pilot aesthetic in the form of perfectly cut boilersuits cinched at the waist with elegant leather belts, worn with aviator glasses. Set amongst gargantuan marble walls in the shadow of the Eiffel tower, Anthony Vaccarello’s latest collection for Saint Laurent during Paris Fashion Week spring//summer 2024 took the brand back to basics, literally. However, it was a motif of suns and moons that piqued interest, perhaps the designer’s cheeky wink to the tale of Dior’s predicted success by a clairvoyant when he was a boy on holiday. Shirting took on a contemporary twist with many looks either one shouldered or worn louche and off the shoulder, reminiscent of the iconic off the shoulder Dior jacket.īreaking up the monotones came several unexpected prints which were an ode to the city itself - Paris’ city streets appeared in the form of an intricate map that looked like graphic tie dye drifting in and out of focus, while a print of the Eiffel Tower shot by photographer Brigitte Niedermair who has shot several Dior campaigns, appeared on jackets and full skirts. Dior’s famous New Look silhouette was referenced throughout, with looks nipped in at the waist on blazers, coats and dresses with belts or carefully structured tailoring. Opening the show was a delicate semi-sheer lace ankle length dress festooned with delicate trailing fabric. Juxtaposed against a backdrop of constantly changing imagery and slogans, models strode down an equally bright candy-striped catwalk in an almost entirely monochrome collection. Whether you’re looking to re-up your knowledge of hair history or are seeking inspiration for a new style of your own, these 10 Audrey Hepburn hairstyles are timelessly chic.Embedded within a wraparound digital installation titled ‘NOT HER’ by artist Elena Bellantoni, the show referenced unconventional women, those typically considered dark or dangerous - witches of the Middle Ages to 19th century Parisiennes. The installation itself was a talking point with magenta and bright yellow base backgrounds filled with past examples of sexist posters and adverts and updated with feminist corrections of the text. “She was very sophisticated, and she kind of imported that.” This meant leaning into fashion and couture over the overt glamour of the Hollywood machine-and creating a collection of classic, artfully understated styles in the process. “She was very much a product of Paris and one of the stars that looked away from the studio system and had her image made in Paris and London,” says Cosgrave. ![]() ![]() ![]() ![]() Hepburn’s looks were also largely informed by European influence and aesthetics. She was the inspiration, she was the glamour inspiration, I think, for a lot of women who didn’t conform to that standard look of Hollywood.” “So Audrey Hepburn’s hairstyles were very much in tune with the look of her clothes. “Even though his colors and prints were quite exuberant, above all, that guy was a minimalist,” says Cosgrave. Bronwyn Cosgrave is a writer and best-selling author of books like Made for Each Other: Fashion and the Academy Awards.Ĭosgrave notes that while the hair of many of the era’s stars was as curvaceous as their famous figures (think Elizabeth Taylor), Hepburn’s was coiffed and in keeping with the style of Hubert de Givenchy, for whom she served as muse for much of her career.
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