Fashion Designer Turned Hollywood Producer Anthony Vaccarello

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Fashion designers draw upon their personal experiences to conceptualize their designs, while film producers bring others’ visions to life, working with directors, financiers, and producers. Typically, these two distinct talents are found in different individuals. However, Anthony Vaccarello, the creative director of Saint Laurent at 43 years old, excels in both roles. This unique ability will allow him to walk the red carpet in a sharp tuxedo while other stars wear his designs at the Academy Awards, where he’s been nominated as an Oscar-producer. With Emilia Pérez being nominated for 13 awards (already having won several), Saint Laurent Productions, the brand’s new film studio, is having a promising start to its career.

From the heart of Paris, I eagerly anticipate my attendance at the Oscars! Amidst finalizing Saint Laurent’s women’s Fall 2025 collection, slated for March 11, I can hardly contain my excitement. Though I’m no stranger to Los Angeles, this will be my inaugural experience at the Academy Awards ceremony itself. I’ve graced a few parties here and there, of course, but nothing quite compares to this!

What makes it even more remarkable is that a non-English film has garnered such a staggering number of Oscar nominations – an impressive thirteen! Such achievement is noteworthy for any producer, whether they’re a seasoned industry veteran or a relative newcomer like myself.

Originating from a man who’s famously humble, yet deservingly boastful might be more fitting; after all, who could fault him for his pride? Tom Ford has written and directed films that earned their actors an Oscar nod on two occasions, and he’s designed costumes for Chanel, Givenchy, and Armani in various productions. However, as Vaccarello expresses: “This is actually the first time a brand – Saint Laurent Productions and I – has been acknowledged like this, isn’t it? Regardless of the outcome that night, simply being part of a groundbreaking project already feels significant.” He admits, with a hint of emotion, “It’s already quite meaningful to be a part of history.

At Cannes in May, Saint Laurent Productions introduced three auteur-driven films: “Emilia Pérez”, Paolo Sorrentino’s opulent “Parthenope”, and David Cronenberg’s “The Shrouds” (released on April 18). When “Emilia” won the festival’s Jury Prize, Karl Lagerfeld, the creative director of Saint Laurent, shared the victory with director Jacques Audiard and the film’s leading actresses, who were collectively honored with Cannes’ best actress award.

Vaccarello expresses that he found it gratifying to place a wager on something instinctive, though perhaps unconventional. He went ahead and made the bet. The designer, who was part of the growing team, shares that the script caught him off guard, yet he had faith in it due to its team. If it’s risky, that’s what a producer is willing to take on.

Previously, he’s dabbled in the world of filmmaking, even before joining the renowned French brand in 2016. Right off the bat, he collaborated on films with Gaspar Noé and Bret Easton Ellis, focusing primarily on fashion-centric projects at that time. Now, however, he’s moving towards telling broader, universal stories with a variety of directors. He expresses his lifelong love for cinema, mentioning Fassbinder’s “Bitter Tears of Petra von Kant” and Pasolini’s “Mamma Rosa” as particular favorites. Producing a film by David Cronenberg is his way of acknowledging the profound impact that Cronenberg’s work has had on him. Additionally, his company has also produced Abel Ferrara’s documentary “Sportin’ Life” and Pedro Almodóvar’s short film “Strange Way of Life.” Initially, he wanted to honor established directors, but as time goes by, he plans to collaborate with up-and-coming filmmakers, helping them share their unique perspectives.

In an unexpected twist for fashion advertising, Vaccarello chose to highlight his cinematic role models – all with distinguished gray hair – in a Saint Laurent campaign. Typically, this platform is reserved for celebrities like Zoe Saldaña, Zoë Kravitz, and Chloë Sevigny who are fans of the brand. However, in 2023, Almodóvar, Cronenberg, Ferrara, and Jim Jarmusch were featured instead. Vaccarello commented that these directors embody characteristics that intrigue him, aspects of the multifaceted Saint Laurent individual.

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In addition to producing Saint Laurent, he is responsible for designing the costumes used in his films: “Directors’ perspectives can change from one scene to another. This is essential for me. We create designs that match the requirements; they become another character.” The oversized fur coat worn by Selena Gomez in “Emilia” perfectly embodied her mob boss diva persona, while Zoe Saldana’s stylish red power suit suited her performance of the Oscar-nominated original song “El Mal” beautifully.

Vaccarello explains that there’s a shared trait between his collections and costumes: they both embody confidence. For Vaccarello, known for his quiet self-assuredness, this confidence is a recurring theme in Saint Laurent designs, often expressed as confident sensuality. In the context of the actor’s role, this confidence from the Saint Laurent universe serves to boost their own confidence. Essentially, they both revolve around self-expression and the person one aspires to be.

Currently, he’s swamped with scripts and proposals, assuring they all fit the artistic style of Saint Laurent Productions, as he explains in a hushed tone. Unlike many fashion designers, or even Hollywood creators known for their vibrant personalities like Donatella Versace and Ryan Murphy, Vaccarello is humble and reserved, often referred to as the “anti-diva” by Vogue. He’s breaking the typical mold. “That’s just who I am,” he says softly. “I prefer my creativity to tell the story.” In essence, his stories are the trio of his designs, films, and costumes. Following the Oscars, Vaccarello has no plans to grace a red carpet again. “It’s not in my nature,” he explains. “If another film we co-produce is nominated for 13 Oscars, I’ll be there to celebrate with the cast and crew who worked so hard on it. But otherwise, you won’t find me on the red carpet – what’s the point?” However, Paris runways are a definite yes.

In the latest issue of The Hollywood Reporter Magazine, released on February 26th, an intriguing tale was shared. If you’d like to stay updated and enjoy such stories as they unfold, consider subscribing right here!

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2025-02-28 21:54