Edie Campbell opened Anthony Vaccarello’s spring show in an Army green canvas jacket, its pert collar turned up, and matching wrap miniskirt. Both were trimmed in shiny black leather and gold zippers and tacks that suggested functional toniness. Campbell has that posh English rose look that veers with her haircut (it’s currently a choppy shag) and is a known equestrian. Dressed in the trappings of well-bred money, she triggered an association: bourgeois.
Cropped jackets had a vaguely military vibe, and mini kilts, fastened with skinny black-leather straps, deliberately didn’t close all the way, leaving a panel of flesh for all to see. Skin is conventional on Vaccarello’s runway, which, in turn, made the relatively conservative crisp white shirts with porcelain blue prints paired with classic blue jeans seem almost outrageous. Those looks made more sense than the interlude of Pop: red and white sequined dresses with pixelated face motifs.
Vaccarrello’s point of view is ironclad yet narrow. Decking out his sharply drawn sirens in the standards of proper society changed his direction by only a few degrees. No matter the angle, it’s still sexy and severe, reliant on razor-sharp hip bones and ribs to accessorize the look as much as his sculptural hardware accents.