Louis Vuitton gets a Ghesquière identity-lift.
Text: Leonidas Liolios
For his second, highly-expected collection for Louis Vuitton, called upon by many as his first ever Resort one (dah, he was just hired), Ghesquière seemed to have re-embraced his Balenciaga weirdness, keeping the closet factor in place.
The still outfits on style.com made me quite skeptical, but the show in motion was quite convincing. Though for the first two minutes it was all Dior to me. You have Monte Carlo, echoing Dior Resort 2014, miss-matched florals and pops of orange in an all-lacy mood so it’s only natural to expect Raf Simons to bow at the end of the show. That if you are unaware of the greatness of Ghesquière and his quite progressive (back in the Balenciaga days) taste for weird that came before anything pretentiously modern. The forms were very Louis Vuitton. The kind of Louis Vuitton we have only dreamt of. And that because with former creative-director Marc Jacobs on the wheel it’s not like there was a certain design lane to be honest.
I loved the details about this. I loved the mistakes about this. Ghesquière has a way of making everything feel right. The metallics work with floral laces. The florals work with other florals. The mixed lines of different widths work. The boots work. All together it works. And it’s not over-the-top, Givenchy 2012 burn-out amazing, it’s just good. And you know that it comes from within.
But is all that color / pattern / form blending relevant anymore or are we tired the Celine way? With Katrantzou and Christopher Kane changing course, I think it’s really important to reflect on what’s truly effective in this long term relationship between identity and evolution. And if what Ghesquiere was a few years ago became the fad of his absent era, I think he must find another way to do it now, or it will all come to pieces the Paul Poiret way.