There is a real community of creatives to guide
Louis Vuitton
men's fashion , which in the post-Virgil Abloh phase in which a creative director has not yet been appointed, chooses to use the theme of ''connections'' as the fulcrum of creativity and sends
the 'Louis Lifewear' collection for autumn-winter 23/24 on the
catwalk in Paris, in the Cour Carrée of the Louvre
, designed by the maison's men's pret-a-porter studio and born - precisely - from the inspiration of a collective creative (whose protagonists all went out together on the catwalk at the end of the show).
The collection is inspired by the ideas of the American designer Colm Dillane, founder of the KidSuper brand (colorful and playful spirit) and winner of the Karl Lagerfeld Lvmh award in 2021.
The scenography of the fashion show and its cinematic prelude are directed by French directors Michel and Olivier Gondry, who created a set that resembles a house with various rooms (from the bedroom to the study), with the support of the Sierra Leonean designer Ibrahim Kamara (who worked as stylist for the men's fashion shows of Louis Vuitton since 2020) and of the Ukrainian creative director Lina Kutsovskaya, with her Be Good Studios founded in Los Angeles she has also created campaigns for the maison.
Joining them is the Spanish singer Rosalía, musical curator of the show and protagonist of a performance during the fashion show.
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Thus the set shows the room for the newborn with mum and dad, that of the small child, the teenager and finally the adult.
This is where the models move.
But let's get to the collection.
Starting from the generation raised in the shadow of super-connectivity, the creative team investigates the impact of the digital age: here are motifs, techniques and tailoring processes, workwear and outerwear that refer to TV, film, cyberspace, screens and cameras .
They are reflected in illusory designs such as a pattern that looks like encrypted coding, a television embroidery made with pearls and sequins, or an Apple TV logo pattern composed of pixelated renderings of the fruit.
The graphics on the leather are reminiscent of Old Hollywood posters while the landscapes of imaginary movie scenes are done in jacquard with fil-coupé captions.
But here are also gigantic eyes, the maximum expression of connection, applied to tailoring.
Alongside the computerized motifs, dresses, bags and handkerchiefs created with Dillane, structured with fragments of leather printed with scans of alphabet letters in different languages.
Then works of art with faces painted by the designer, transformed into prints on dresses, coats, bags.
Introducing the show is the short film Growing Up by the Gondry brothers: it describes distinctive stages of growing up with stories connected to elements present on the catwalk.
The story finally presents the protagonist in his young adulthood, a clock appears on the bedside table: it marks 2.30 pm, the time of the show.
(HANDLE).
