If Hedi Slimane seems to have thought that would be enough to erase the “Yves” Yves Saint Laurent to overcome the legacy of the Parisian house and thus deliver an innovative vision of the YSL woman was clearly overestimate its own capacity to take power over fifty years of history.
It sharpened the dream, infinitely modern, androgynous and seductive … Hedi Slimane’s muse we finally appeared caricature, rock banal, but surprisingly turned toward the past (contrary to what the arrival of an artistic director in direct contact with the younger generation let us hope).
While recent events seemed to indicate profound changes in the world of Saint Laurent (between the logo redesign and relocation of the offices of the claw in Los Angeles), the former darling of Paris, is entangled – to his first show ready-to-wear – a bewildering succession literal quotations.
It is true that in just Saharan revisited, ascots XXL, more than variation around smoking easily, dreams muslin Tom Ford era and skinny pants ultra predictable, Hedi Slimane is lost in a river with any collection of bad retrospective.
Not to mention the energy that rock and contemporary CV promised to inject the heritage house and is seen here first degree mode declined between slim leather, total carbon look and sexiness without surprise.
Difficult to detect in these final cowgirls to Kate Moss which could push Pierre Bergé to define this show as “the best since the departure of Yves.” Far to honor the legacy of his former lover, this dark and rough logorrhea is struggling to fill the – legitimate – expectations of a fashion sphere expected to see Hedi Slimane YSL transfigure woman.