Nicolas Ghesquière is a maestro when it comes to the unconventional. Throughout his tenure as creative director at Louis Vuitton, the trailblazing designer has shown in some of the most interesting (and fantastical) venues around the world, from the Niterói Art Museum in Rio De Janeiro, Brazil, in 2016 to the terraced gardens of Isola Bella in Italy last year.
The spring/summer 2024 collection saw no exception to this, with the show being set on the storied streets of Champs-Élysées. Known to be one of the world’s most famous commercial streets, the avenue is brimming with life and exuberance, an energy befitting the pre-show anticipation. Greeting the show attendees was a 19th-century brick building that used to house international visitors who came for the momentous world fairs, its imposing architecture standing the test of time. As with previous seasons, there was a star-studded guest list filled with notableA-listers and Hollywood’s young stars, such as Zendaya, Hyein and Cate Blanchett.
Inside, the sprawling all-orange interior of the venue was a striking visual, one that might be similar to that of a hot-air balloon. Designed by renowned American production designer James Chinlund, the set was perhaps a nod to the French luxury fashion house’s long affinity with voyage and travel—given LouisVuitton’s history as a brand that started out making luxury trunks and suitcases for the wealthiest.
As for the garments, their stripes and prints were whimsical and nostalgic, seemingly filled with references to Ghesquière’s greatest hits through the years. Mobility and function has always been a point of contention for the French designer, exhibited this time around through a seamless balance of flowy, summer separates as well as durable leather and PVC outerwear. Draping and pleating along the collars and sleeves were present, and ostentatious belts in supersized proportions that slung low on models’ hips proved to be the statement of the evening.
The beauty, however, was in the craftsmanship and fabrication of the pieces. The long flowing skirts that were made from layers of mousseline and charmeuse, the corseted tops made at Louis Vuitton’s bespoke atelier, and the fully beaded jumpsuit reminiscent of a slip dress. The collection closed with an array of jackets that at first glance looked to be constructed from a tweed boucle, but were actually laser-cut and refined to produce the ruffled texture, proving that the devil was in the details.
Looking at the accessories, it seems there was common consensus on the theme of going back in time. Clutches in the shape of traditional Polaroid cameras played to one’s childhood memories, along with retro-futuristic sunglasses that could pass off as reimagined aviator goggles in the ’90s. This season reinforced Ghesquière’s vision of what the Louis Vuitton woman was—a strong and confident individual who possesses a certain allure, one that is effortless yet elegant.
The April ‘Pop’ issue of Vogue Singapore is available for sale online and in-stores from April 2024.
