Louis Vuitton’s Nicolas Ghesquiere invites we inside brand’s future

February 7, 2015 - fall Denim

Louis Vuitton's Rodeo Drive restoration a brew of classical and cool

The exhibition, patrician “Series 2,” facilities 7 bedrooms with displays that strew light on a routine behind Ghesquière’s luxe-meets-lava-lamp women’s open ready-to-wear collection, that creatively debuted on a runway inside a silvery, new Frank Gehry-designed Fondation Louis Vuitton museum during Paris Fashion Week in Oct 2014 and only strike a racks during a newly renovated Louis Vuitton boutique on Rodeo Drive final week.

Visitors enter subsequent to an outsized red neon pointer of an LV inside a circle, modeled after a monogram sign primarily used by case builder and residence owner Louis Vuitton in 1854 and regenerated as a trademark by Ghesquière after his arrival. In a subsequent room, a trippy, mirrored dim space pierced by beams of illusory light replicates a atmosphere inside a uncover space. Just as it was during a runway show, a carol of articulate faces welcomes we to “the boat that serves as an incubator … and a residence that wants to try a ability to ride to any partial of a star though moving,” discourse that was desirous by a commencement method of David Lynch’s 1984 sci-fi film “Dune.”

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“Fashion shows are amazing, though they are for a little volume of people,” Ghesquière, 43, pronounced during an speak during a Chateau Marmont on Thursday, only hours before a exhibition’s star-studded opening party, attended by Catherine Deneuve, Jennifer Connelly, Michelle Williams, Rosamund Pike, Charlotte Gainsbourg and other luminary friends of a house. “I wanted to emanate something interactive and technological that also speaks to Vuitton.”

The two-week muster comes amid several other oppulance players announcing skeleton to theatre vital events in a luminary heart of Los Angeles. On Feb. 20, Tom Ford is to horde his tumble 2015 runway uncover here dual days before a Oscars. And on May 9, Dior skeleton to move a Cruise 2015 runway uncover to town.

But Vuitton’s plan is some-more consumer-facing. “Series 2” follows “Series 1,” a likewise recognised muster staged in Shanghai and Tokyo final year about Ghesquière’s initial runway collection.

Vuitton seems to be aiming to move a blockbuster party value of a runway uncover to code enthusiasts and would-be business in a approach that’s some-more insinuate than examination it live on a mechanism screen. And in a time when some oppulance brands spend as most income entertainment a 12-minute conform uncover as some Hollywood studios do producing a film, it creates clarity to try to gain on a knowledge by bringing it to life closer to home.

“If we could examine open a mind of a residence and look inside, that’s what this is,” pronounced Michael Burke, arch executive of Louis Vuitton.

In a exhibition, there are hologram projections of a iconic trunk, a building retard of Vuitton’s tellurian business. Heritage pieces — including Greta Garbo’s LV monogrammed shoe trunk, circa 1926, with a leather tab inside indicating where it was purchased (Bullocks Los Angeles) — are juxtaposed with Ghesquière’s complicated designs, including sell strike a Petite-Malle, a hinged box purchase made like a little trunk.

“You travel by and have opposite practice where a product is highlighted, though also a tension of this new proviso for Vuitton,” pronounced Ghesquière, who is formed in Paris, though has always had an affinity for a L.A. area, from a art galleries in West Hollywood to a Space Mountain float during Disneyland.

A fun residence gymnasium of mirrors facilities all 48 looks from a runway entrance during we from each angle on a continual loop. And a reproduction of a show’s backstage space, rolling racks, garments steamer and all, is surrounded by a breathtaking fresco of a pre-show frenzy, shot by famed photographer Jean-Paul Goude.

Some of a runway samples are here, including a white vinyl crochet mini-dress that non-stop a show, a cherry red eel skin dress, clear floral velvet blouses and pants out of a “Partridge Family” era, and denim patchwork go-go boots with sculpted timber retard heels, all of that helped to concrete a ’70s as a season’s biggest runway trend.

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“The Vuitton habit is functional. we wish to make conform statements, though not like before,” pronounced Ghesquière. “It would be a mistake to contend Vuitton is all large or Vuitton is all black. It would be too superficial. What I’m meddlesome in doing is building consistency.”

OK, though eel skin … functional? There was a clear “so-bad-it’s-good” interest to that, Ghesquière explained.

“That’s a Vuitton way…. we adore that diversion of mutation of something that’s not ostensible to be super lush into something that becomes desirable. I’m not frightened to play with genuine and artificiality. we find it utterly interesting,” he said.

For muster visitors looking to take home a square of Vuitton, a monogrammed Dora handbags are off limits. But there is a commemoration room, with giveaway stickers depicting fun domicile equipment (hair dryers, lipsticks, headphones, takeout food) after a imitation used on white denim in a open collection.

The thought for a stickers came from a luggage labels that were mostly merged to Vuitton’s trunks in a golden age of transport. “I wanted to plan that thought into today, and while we was on a outing to Japan, we beheld that kids there were putting stickers on everything,” a engineer said. “And we started putting them on all too, including my agenda…. It seemed unequivocally right to make these stickers. It’s gimmicky, though in a good approach … Vuitton is cocktail too. And we didn’t wish to forget that.”

The grand scale of a muster is a thoughtfulness of Vuitton’s tellurian and informative reach, and how most has altered for Ghesquière given his former job, 15 years conceptualizing a some-more niche oppulance code Balenciaga, where he gifted some-more vicious than blurb success.

“I gifted pleasing things with Balenciaga. It was a birthright of couture … and a scale was opposite infrequently by choice, and infrequently by non-choice,” he said. “But what we schooled is that we always knew we wanted to speak to some-more people…. And no contrition for being some-more commercial, no contrition for simplification of a clothes. And no contrition for embracing a code where ready-to-wear was not a priority though is apropos one. My DNA is still there.”

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