Louis Vuitton: welcome to the game of indefiniteness

Closing the chapter for this latest edition of Paris Fashion Week, a large rose of an intense fire red, iconography ascribed among the symbols of the legendary French house, and built by the avant-garde and multidisciplinary French artist and designer Philippe Parreno, was in charge of setting the scene and welcoming the select group of attendees invited to the Louis Vuitton Spring/Summer 2023 women’s collection presentation show. A proposal again signed by the French designer Nicolas Ghesquière, director of the Maison’s women’s collections since the beginning of November 2013, who came to see the light to finish putting the finishing touch to this latest edition of the Parisian catwalk.

Combining atmospheres and sensations similar to those already generated by the French house for some of its latest presentations, the parade of this newest collection by Ghesquière for Vuitton ended up being held inside the closed central courtyard, better known as the “Cour Carrée” of the iconic Louvre Museum in Paris. One of the most important museum institutions in the world, both for the number of its collections and for the high artistic and historical value of its readers, which thus continues to strengthen its links with the legendary French house, exercising the functions of a set space for one of his proposals, just as he did for the men’s collection presentation shows for Spring/Summer 2023, last June 2022; for its women’s collection for Spring/Summer 2022, last October 2021; or for the presentation parade of its women’s group for the Autumn/Winter 2021 season, organized in March 2020 —without an audience— from inside the rooms of the museum itself, in what was evident as the house’s response to be able to continue presenting their fashion proposals in the middle of a coronavirus pandemic without any sign of remission at that time.

To this setting, tied to the highest level of everything and how much the cultural offer of the city of Paris can offer us, which is not a small thing to say, was added that spectacular ephemeral rose, made by Parreno, which seemed to appear as a symbol, as well as the house itself, that glorification of femininity to which Ghesquière entrusts this collection. An ephemeral rose whose red hue is also linked with that red of the “Ax Majeur” park monument that the French designer himself chose as the backdrop for the presentation of his Cruise 2022 collection. A proposal as colourful as it is futuristic and organic, which we could do well place as the very germ from which this latest Ghesquière collection has ended up flourishing.

The fun game of scales opens the door to female inclusivity.

Staying at all times on that same avant-garde and futuristic aesthetic that Ghesquière manages to print on every one of his creations, and starting from that idea of wanting to celebrate and “magnify” feminine complexity, the French designer seems to enjoy a child playing scales game. A readily observable practice in the drawings of the little ones in which it is usual to observe how they oversize and reduce different motifs and features at will, which the French designer makes use of here to exalt the details, usually ignored, which are part of the same garments that he designs.

In addition to the fun formal result that the pieces of this collection end up throwing off, with massive zippers and buttons out of scale, while what could well be small padlock covers end up acquiring the entity of a full bag or even a blouse, and at the same time While bags lose part of their identity to end up being reduced to pockets, the message that seems to underlie the background of this “game” that Ghesquière practices continue to be equally attractive. An entertainment with which he speaks to us of a loss of definition and of any idea tied to a preconceived image as a door that opens to new and unlimited ways of understanding femininity, a response that Ghesquière seems to give to that inclusiveness of ages, genders,

“Femininity is at the center of the debate, and Louis Vuitton wants to participate” in this new construction of “femininity”, admiring it “through its strength, glorifying its complexity, magnifying it, putting it in its rightful place”, he entered. to explain Ghesquière himself throughout the note he presented on the occasion of the presentation of this collection. A proposal enters to deepen the French designer, which is shown as “a stylistic exercise that revalues ​​the proportions of clothing and its accessories” and “in which the codes of femininity change scale”, in something that we can well link with that same revaluation that we are witnessing of the different types of bodies.

Opening up to delve into the most outstanding aspects, in terms of design, of this latest collection, the French designer underlines how “the infinitely large and the infinitely small come together in a series of silhouettes that invite you to take a second look”, both on the piece and the elements and on that concept of indefiniteness and of wanting to redefine the pre-established that they end up giving shape to. “The Spring/Summer 2023 women’s collection focuses on the details, highlights them, gives them their fair value”, and all this while underlining the very value of the DNA and the history of the house, resorting to elements and details, such as straps, labels, buckles and zippers that are part of Louis Vuitton’s creative imagination since its very origins as a firm specializing in the manufacture of suitcases and trunks. These “are the custodians of a history that endures”, notes Ghesquière, and “are also part of the essence” of this collection, “blooming from the very heart of this throbbing ‘monster flower’ created by artist Philippe Parreno”.

Scarlett Watson

I am a professional writer and blogger. I’m researching and writing about innovation, Health, technology, business, and the latest digital marketing trends.

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