Yves Saint Laurent’s Le Smoking: Power Dressing Returns to Paris Fashion Week
Sixty years after its debut, Yves Saint Laurent’s Le Smoking
suit has returned to the Paris catwalk, marking a significant moment for the iconic fashion house and a reflection on the suit’s enduring legacy. The suit, originally designed in for men to wear in smoking rooms, was reimagined by the late couturier for women, with slimmer trousers and lapels, and presented as part of the Saint Laurent womenswear fall/winter collection.
The presentation, which opened Paris Fashion Week on , wasn’t simply a revival; it was a reinterpretation. Current designer Anthony Vaccarello, celebrating a decade at the helm of the brand, presented a version of Le Smoking
that leaned into an s Wall Street aesthetic. Models sported the suits with maximal jewelry and makeup inspired by Robert Palmer’s Addicted to Love
music video, a departure from the slinky tailoring traditionally associated with Saint Laurent. Fourteen models walked the runway, each adopting a nonchalant pose with a hand casually tucked into a pocket.
The suit’s initial reception in wasn’t overwhelmingly positive – only one was sold from the first collection. However, it quickly evolved into a global symbol of power dressing and gender fluidity, appearing in every Saint Laurent collection until the couturier’s retirement in . Le Smoking
wasn’t just a garment; it was a statement, empowering women with clothing traditionally associated with male authority.
The return of Le Smoking
arrives at a moment of broader shifts in menswear and womenswear. Harry Styles recently appeared at the Brit Awards in a black-and-white pinstripe Chanel suit, signaling a continued blurring of gender lines in fashion. Vaccarello’s interpretation, however, seemed to emphasize a different kind of power – one rooted in financial dominance, as evidenced by the pinstripes and the overall aesthetic. The collection also featured oversized jackets in knitted shearling and sky-high heels, further amplifying the theme of assertive dressing.
The demonstrate itself was a spectacle, staged in a modernist glass apartment
with a backdrop of the illuminated Eiffel Tower, boasting 20,000 twinkling bulbs. Front row attendees included Kate Moss and Michelle Pfeiffer, and an oversized replica of a bust that Saint Laurent kept in his own home added to the opulent atmosphere. However, the extravagance was not lost on observers, particularly given current global events.
The timing of such a lavish display, some noted, felt somewhat discordant. Wildly materialistic displays of wealth are increasingly scrutinized in the current climate. Despite these considerations, Pascal Morand, the executive president of the Fédération de la Haute Couture et de la Mode, affirmed that Paris Fashion Week would proceed as scheduled, stating they remained very attentive to the situation
.
The luxury market has experienced some flattening recently. Kering, the conglomerate that owns Yves Saint Laurent, reported annual revenue of approximately €2.6 billion (£2.3 billion) in , a decrease of around 8% compared to the previous year. Despite this, the brand continues to demonstrate resilience, according to Simon Longland, director of fashion buying at Harrods. While the broader market has been more volatile, the brand has shown resilience and improvement,
he told the Guardian, adding that People, he said, were still buying it.
.
Fashion often positions itself as a mirror reflecting cultural shifts, but it also serves as a vehicle for aspiration and fantasy. Le Smoking
, in its various iterations, embodies both. It’s not simply about dressing for the present, but about embodying the power and confidence one desires. The suit’s enduring appeal lies in its ability to transcend trends and offer a timeless expression of style and self-assuredness. The 2026 reimagining, while distinctly modern, continues that legacy, prompting a conversation about power, gender, and the evolving landscape of fashion in a complex world.