Big in Japan. Louis Vuitton Resort’18


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.

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Collage by Edward Kanarecki.

When in Tokyo with Alessandro


Alessandro Michele‘s creative narration for Gucci isn’t only reflected in his eccentric collections, but also in campaigns, which are traditionally photographed by Glen Luchford. For autumn-winter 2016, the whole story was set in Tokyo, featuring a ‘dekoratora‘ (a Japanese light truck, obviously), traditional ‘ryokan‘ house and a lot of kawaii moments. There’s a distinct clash between harmony and chaos, modern and traditional, so contrasts which are often messed up by Michele in his collections. But what really makes this Petra Collins-starring campaign great are the old-school, film-like lines which tell us what the youthful, Gucci crowd senses in every moment of being in Tokyo.













Shoes Like Pottery


Japan-based label Shoes Like Pottery crafts classic trainers with the closest attention to detail. Featuring carefully chosen materials, each shoe is built on a special vulcanised rubber sole and fired in a kiln using a unique process called ka-ryu for long lasting durability and wear. Shoes Like Pottery features high-quality, beautifully textured fabric, hand-sewn by the skilled craftsmen of Kurume in Japan. As the owner of one of these shoes, I feel really happy – I sought for the perfect pair of trainers for a very long time, and these are not only comfortable, but super stylish! I see that the new generation of these little, conceptual brands from Japan are the one to watch for.