Nicolas Ghesquière renewed his Louis Vuitton contract this Spring. Newly committed to the LVMH mother ship, he sent out a collection that was uniquely personal—a transporting, confident return to the futuristic forms of his early work. “I felt the need to dig into my obsessions,” he said during a preview at LV headquarters on the Rue du Pont-Neuf.
In a season of solutions dressing, in which designers have been emphasizing the real-world applications of their clothes, Ghesquière was in a world of his own tonight—starting with his set, a space-age anachronism set down in the courtyard of the centuries-old Louvre. He said he was interested in the edge between the virtual reality we experience through our social media streams and real life.
That played out via 1980s callbacks (the decade’s exaggerated silhouettes are recurrent motifs in his work), high-tech fabrications like molded rubber, space suit sleeves, Memphis Group prints, and the Parisian savoir faire of sculptural dresses in sequin-embroidered mesh.
It wasn’t a single-message collection, but rather an eclectic series of propositions: a wardrobe for the first wave of SpaceX flyers printed with images of (I’m riffing here) terraforming colonies on distant planets and toxic lakes on the planet we’ll have to leave behind. As always, there was sharp, compelling tailoring.
His new jacket zipped up the middle with wide peaked lapels, and his pants, which were worn by a trio of androgynous models some mistook for men, were straight-legged and hip-slung; these were the grounded foundation around which his sci-fi experiments rotated.
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