Upon the sixth or seventh glance, it became evident that Saint Laurent’s Anthony Vaccarello was not merely revisiting his exceptional collection from last September. That previous collection had featured crisp utilitarian cotton elevated to celestial heights. By the 18th or 19th look, it was apparent that this new offering wouldn’t resemble a typical winter collection either. Instead, it included chic and roomy caban jackets, drawing inspiration from Saint Laurent’s beatnik coats of 1962.

As the final model gracefully navigated the circular runway within two interlocking rooms, their green damask curtains flanked by De Sede’s DS-600 Canape black leather sectional sofas (remarkably comfortable, by the way), clarity emerged. The entire 48-look collection by Vaccarello was characterized by transparency. Astonishingly, each piece was crafted from the same fabric used for tights—yes, you read that correctly.

For those with an interest in fashion (and if you’re reading this on Vogue Runway, you likely are), transparency has become a significant trend in recent years. It’s the outcome of complex interactions: a generational embrace of body positivity, celebrity one-upmanship, and a narcissistic display of our God-given physiques (or perhaps our Ozempic-enhanced ones). Each appearance of transparency seems like a race to reveal what little remains concealed. But has it reached its limit?

Enter Anthony Vaccarello, who deftly subverted the concept of transparency. He paid homage to Monsieur Saint Laurent’s own dalliance with sheer fabrics—back in 1966, Saint Laurent designed a blouse that caused quite a stir. Vaccarello also drew inspiration from Marilyn Monroe’s iconic Jean Louis dress, famously worn when she serenaded JFK on his birthday in 1962.

Vaccarello’s approach was to infuse his collection with an absolute and once-radical chicness. Simultaneously, he slyly commented on the banality that transparency has acquired in our culture. For him, the current fashion landscape is saturated with sameness, lacking novelty. His mission? To propose something unprecedented, something that would ignite excitement. As he candidly put it backstage, his role isn’t always about realism.

The result? A meticulously controlled silhouette that wrapped around the body, creating taut lines. Bow-neck blouses, pencil skirts, and draped dresses—all impeccably tailored—graced the runway, their modest shapes contrasting with the daring sheerness. The color palette spanned from taupe to caramel, olive to ochre, chocolate brown to vermillion, and classic black.

Accessories played their part: whip-thin belts in bordeaux patent leather or gilded chain links, ankle strap wedges, stiletto-heeled sandals, and stacks of lucite bangles. And let’s not forget the fabulous powder puff marabou jackets—sometimes casually draped over arms, other times nonchalantly shrugged onto the models’ bodies. Even those tights made an appearance, reminiscent of Martha Graham’s headwraps.

Returning to the topic of clothing, let’s focus on stocking fabric for a moment. It’s notorious for pulling, shredding, and developing ladders. Despite these challenges, the Saint Laurent ateliers deliberately used it extensively. This choice showcased their exceptional craftsmanship—a challenge that Vaccarello embraced.

However, this collection was intentionally ephemeral, fleeting like a match igniting and then quickly burning out. Vaccarello acknowledged the irony: as a designer, he faced immense pressure to deliver in a grand brand-oriented way. Yet, he chose to prioritize the joy of pursuing personally inspiring ideas. When asked about commercializing the runway collection, he playfully deflected, saying, “Don’t even inquire about production—I can’t reveal that.” For him, deviating from the expected by featuring outerwear in a conventional fall show was a deliberate move. Perhaps it’s acceptable for designers to occasionally break free and experiment, using their collections as a creative playground.

Anthony Vaccarello’s instincts seem to have been spot-on this season. While many designers are discussing reality, their clothing often appears to require a roadmap just to locate it. The question arises: how many of these garments will genuinely intersect with our lives? This situation undoubtedly underscores Vaccarello’s confidence in his work for the house.

As a writer, I must admit that I adored the collection. However, I recognize that opinions may vary, especially considering the daring level of sheer breast exposure. Yet Vaccarello remains open to differing viewpoints. In his own words, “I’d rather people either love it or hate it than feel nothing at all.” It’s a bold stance, and perhaps that’s precisely what makes his work intriguing.