We would wear any look from this season’s offering and stay out in it long past the full moon.
Peep some of our favorite moments, below.
Photos courtesy of the brand.
The looks from the show embrace a sense of artistic chaos— loud, expressive, and full of individuality. How did you approach creating this intentionally unconventional aesthetic for Copenhagen Fashion Week?
Hillary came to us ready to play, so there was immediately this feeling that we could push things and not be too precious about any of it. I wanted the makeup to have the same unpredictability as the collection— for things to clash, bleed into each other and occasionally feel a little wrong. We treated the face and body almost like a painting. We used custom mixes of our zero-plastic Submission Glitter and dusted directly on the skin in thick splashes, translucent smears and scattered pieces, without worrying too much about whether the colors were perfectly coordinated with the clothes. Actually, sometimes it was better when they weren’t.
I had originally prepared these watercolor washes underneath the glitter, but backstage I realized it was becoming too much— almost Halloween-y, so we killed them. Once we put the glitter straight onto bare skin, it became much softer and stranger. That instinctive editing is part of what I love about doing shows. You plan things out ahead of time— and then you have to be willing to listen to the energy in the room. It’s an organic process; once we are all in together in the same room, we all change things up as we see them live for the first time. This is when the magic happens. We also approached every model differently. There wasn’t one face that everyone had to become. The casting had so much personality already, so it was really about looking at each person and figuring out how far we could take them without losing what was already interesting about them.
What has taking a sustainability-first approach at Submission Beauty taught you about the relationship between creativity, responsibility, and the future of the beauty and fashion industries?
The biggest thing I’ve learned is that responsibility doesn’t have to dictate an aesthetic. I think there is still this idea that if something is sustainable, it has to look restrained, natural or somehow very well behaved. I’m really not interested in that.
Working within limitations can actually make you much more inventive. When plastic glitter isn’t an option, for example, the answer shouldn’t be that we stop using glitter. The question becomes: how do we make something better? And then once you have it, how far can you push it? That’s why this show made so much sense to me and Submission. Hillary made the collection using materials that were already in her studio, but the result wasn’t apologetic or minimal. It was loud and funny and excessive. That is a much more exciting vision of responsibility to me. I think the future of fashion and beauty depends on getting past the idea that responsibility is a separate creative category. It should simply be part of how we make things. Then we can get back to the fun part— making something people haven’t seen before.
Why did Collina Strada feel like the right partner for Submission Beauty?
Because Hillary understands that having values doesn’t mean behaving yourself aesthetically. There’s a fearlessness to Collina Strada that I really relate to. The clothes can be beautiful, funny, sexy, chaotic— sometimes all within the same look— but there is always a very clear point of view underneath it.
And the responsibility is built into the way Hillary works much like the way we work. It feels very close to what we’re trying to do with Submission. We never wanted sustainable beauty to come with one prescribed look or one idea of what beauty is supposed to be. We want you to be able to cover your entire body in glitter if that’s what you feel like doing; we don’t think that glitter should ever be plastic. So when Hillary basically said, “Let’s go there,” it was very easy for us to say yes.
That relationship between the designer and the camera is at the center of YSL and Photography, the International Center of Photography’s newest exhibition, on view until September 28. Featuring more than 300 archival objects—including photographs, magazine spreads, advertising materials, and Saint Laurent’s own illustrations—the exhibition explores photography’s role in constructing Saint Laurent’s public identity, preserving his work, and cementing his place in fashion history.
The exhibition begins with a chronological survey of finished photographs by some of the twentieth century’s most influential image-makers, including Richard Avedon, Irving Penn, William Klein, Helmut Newton, Annie Leibovitz, Steven Meisel, and Jürgen Teller. From Penn’s elegant 1957 portrait of the young Saint Laurent at Dior to Newton’s cinematic Rue Aubriot photographs, Guy Bourdin’s theatrical Opéra–Ballets Russes imagery, and Teller’s monumental late-career portrait, the galleries trace nearly five decades of the designer’s evolution.
“He’s probably the most photographed fashion designer of his generation,” says Simon Baker, guest curator of the exhibition. Saint Laurent’s collaborations with photographers became central to the visual identity of his house. Helmut Newton, one of his closest creative collaborators, described the designer as a major inspiration in a book celebrating Saint Laurent’s 40th anniversary in fashion. “Yves Saint Laurent has inspired my best fashion photos,” Newton wrote, citing the famous “smoking” photographs on Rue Aubriot, his images of couples in tailored suits kissing, and the striking portraits he created around Saint Laurent’s collections. “There are so few people with whom I feel completely in accord,” Newton wrote. “And he is so touching, so fragile.”
One of Baker’s favorite images in the exhibition comes from the very beginning of that story: a 1962 silver gelatin print by Pierre Boulat showing a twenty-five-year-old Saint Laurent peering through a narrow gap in a wall as models walked his second runway show under his newly founded label. Published in LIFE magazine that April, the image offered an unusually intimate glimpse into the fledgling couturier’s career. “Pierre Boulat shot hundreds of photographs of Yves Saint Laurent throughout his career,” Baker says. “But this is my favorite. It’s so touching to see this totally unobserved moment of Saint Laurent, who was so young and so shy, watching his career unfold before his own eyes.”
The second half of the exhibition shifts from finished photographs to the creative process behind them, drawing from the archives of the Musée Yves Saint Laurent Paris. Visitors encounter contact sheets, photographers’ correspondence, campaign materials, magazines, press clippings, personal photographs, and behind-the-scenes documentation that reveal how fashion images were created. One of his favorite discoveries while curating the exhibit was the magazines themselves. He found himself unexpectedly captivated by the extraordinary sophistication of fashion publishing throughout the 1960s and 1970s, fascinated by the editorial layouts, typography, printing techniques, and graphic design that transformed fashion photographs. One spread particularly fascinated Baker: a largely black-and-white layout of the Mondrian dress in Vogue in 1965, in which the dress's signature blocks of primary color were selectively printed onto the page, allowing the magazine itself to become an extension of Saint Laurent's design. "It's an incredible piece of art direction and design," he says.
Among Baker’s biggest surprises were Saint Laurent’s own graphite sketches based directly on published photographs and magazine covers. Rather than preparatory drawings to plan shoots, many appear to have been made after the photographs were already in circulation, suggesting that Saint Laurent repeatedly revisited magazine images that lingered in his imagination. “It was like the photography was always there in the back of his mind,” Baker says.
Your style is rooted in graffiti art and mixed media work. How does your process adapt when the canvas changes from wall to paper to clothing?
Working on paper or canvas, I have a lot more planning involved. Every step is pretty premeditated. While airbrush and spray paint are a lot more explosive. Everything happens in the moment. I was really shitty at it when I started, and I loved that. I felt like a kid again. When classical brush works were feeling too polished, it was the raw style I’d been searching for.
Southern California is a huge part of your identity. What’s the most L.A. thing about this collection?
The snakeskin paisley print. I would get a bunch of black and white bandanas from Santee Alley and use them as canvases. The bandana, for me, has always been an L.A. thing to elevate an outfit. Adding the snakeskin texture really took it to another level.
Your signature Red Vixen makes an appearance in GIA GTA. What does that character represent for you, and why was it important to incorporate here?
Yeah, that’s ‘Her’. ‘Her’ represents a primal energy in all of us. Kind of an alter-ego at this point. Her image definitely aligns with GIA’s darker feminine energy, animalistic prints, and hyper-sexy silhouettes.
What’s your favorite thing about I.AM.GIA?
I love how they always go all out for the campaigns and the parties. How it really feels more like a family than a brand.
Alana was a fan of your work long before you got to collaborate. How did that shape the creative relationship? Did you have a lot of shared instinct from day one?
Yeah, it’s crazy how tapped in [we were]. Like one of the recent paintings I did for her home, the color scheme ended up matching the furniture and decor to a T, having never even seen that room before. Same with the collection, pieces were just flowing. There wasn’t too much back and forth needed.
Angelyne iconically built a career out of appearing on billboards, referring to herself as the “real billboard queen.” In this campaign, she sprawls above Sunset Boulevard in leopard print capris. How do bold iconography and larger-than-life characters fit into your work?
I want my work to be iconic enough to live on for generations, centuries even.
Your art is no stranger to themes like rebellion. What does this collection rebel against most?
I think just wearing the pieces could feel quite edgy for some. Like a superhero suit to literally step in and out of a character.
