Nicolas Ghesquière (@nicolasghesquiere) returns to the roots of Paris and brings a high society that expresses itself through a new Belle Époque, a tribute to that lively era in which the French capital breathed pure charm in every corner.
Being the closing parade of Paris Fashion Week can be a double-edged sword. In theory, Louis Vuitton‘s show (@louisvuitton) is one of the most important after a month of shows in four capitals. In practice, the exhausted fashion editors look at their watches trying to hurry their way home.
Truth is that it didn’t help that the show was an hour late. The reason justifies it. The public had to wait until the sun set at the Louvre Museum for the video to be shown clearly. On the screen, Sophie.
For those of you not familiar with the artist, her name is Sophie Xeon (@sophie_msmsmsm) and she is a transgender singer. She performed an extended version of her 2017 song “It’s Okay to Cry”. Somewhat surrealistically, the models emerged from a door in the center of the artist’s chest.
But this is not the first time Nicolas Ghesquière has flirted with the fluidity of the genre. Just a year ago, he chose transgender models for the SS19 show, including Krow Kian, which he repeated this year. For the Pre-fall 2019 lookbook, Ghesquière also hired a transgender, actress Indya Moore.
The suits that did not match opened the show, mixing prints, shrunken jackets with wide pants. As its creative director confirmed, the collection is inspired by the Belle Époque and the Vuitton family home, an excellent example of Art Nouveau design.
Ghesquière said he wanted to explore “dandism and those particular snobbish things that would later become what is known as French elegance.
The collection was anchored in the late sixties and early seventies. This is why psychedelic patterns were present both in belt tunics and bell sleeves.
Although this style is more Miuccia Prada‘s or Anna Sui‘s, Ghesquière has made sure to put his personal touch. And it shows. Although the designer has always had a foot in the future, his work in Louis Vuitton is deeply linked to the past.
The anachronisms were the rule of the game, in the form of a rectangular bag that is a VHS tape and the bags of handles printed with adhesive labels for imaginary videos.
On the catwalk, trousers with high waist and wide legs, gabardines with belt and moccasins. As for the accessories, the bags were timelessly elegant, leaving aside the trend of minibags proposed by several firms and initiated by Jacquemus.
Looks like it’s all good news in Louis Vuitton. This year it has led the ranking of the most valuable luxury brands. The incorporation of design promises such as Virgil Abloh in his creative team has had a big impact on the increase in the consumption of his products. These achievements have led to a value of around 35 billion euros.
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