This is what you call a show. Chanel did a faux Ancient Greece venue at Parisian Grand Palais; Prada took us to Galleria Vittorio Emmanuelle’s attic; Dior had its guests see the show in the middle of a Californian canyon. But Nicolas Ghesquiere, and his team at Louis Vuitton, outdid himself. Again. The Miho Museum, a half-hour drive from Kyoto, is one of the most spectacular and out-of-this-world buildings in the world. Designed by I.M. Pei, the architecture of this place reminds you of some utopian space odyssey – and that’s precisely what Nicolas wanted to achieve, sending down a line of futuristic silhouettes with equally futuristic setting in the backdrop.
*1,2,3. Territory by The Blaze, Indestructible by Robyn (remixed). Just wow.*
Continuing to love Japan and its culture, the creative designer of the French maison did an impressive job in conveying his long-term relation with the country. He found just the right balance, not falling into oriental stereotypes, and what’s worse, cultural appropriation (a frequent problem among other designers). Those were the modern-day, badass attitude samurai girls, wearing over-sized biker jackets with leopard prints, skater shorts and weaved leather vests. Kansai Yamamoto was on Ghesquiere’s mind while designing the collection – that’s the Japanese designer, who dressed David Bowie in glittering jumpsuits and paved the way for Yohji Yamamoto and Kenzo Takada few decades ago in Paris. Now, his bold, artistic legacy gets a revamp according to Vuitton codes. Handbags with Kabuki eyes, prints of local fishermen, a variety of toned colour combinations: Japanese avant-garde of the late 20th century goes slightly more French, more refined. In an effortless, loose way. The collection, in overall, has something of Ghesquiere’s early Balenciaga days. But the designer has already established his language at Louis Vuitton – so it feels just the right way.
Collage by Edward Kanarecki.