Frenzy and monster traffic jam on the most famous avenue in the world. On Monday, in the middle of the afternoon, a compact crowd rose in front of number 103 of the Champs-Elysees. Thousands of tourists and curious people were hoping to catch a glimpse of a famous name coming out of a sedan with tinted windows. Some were able to recognize actresses Cate Blanchett, Jennifer Connelly or Léa Seydoux, joined at the pace of race by Pharrell Williams, the artistic director of the men's collections of the house. Then, Zendaya arrived, creating the riot. The cult heroine of Euphoria and Dunegreeted the crowd and snuck into Louis Vuitton's new building. A place of 22,000 square meters adjacent to the Vuitton boutique and still under construction. This monumental former bank headquarters has been the new property of the world's number one luxury company in recent months. Eventually, the space is promised a major project around the universe of Louis Vuitton, without its nature being revealed yet. In the meantime, it hosted the spring-summer 2024 fashion show.
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Fashion show - Louis vuitton - Spring-Summer 2024 ready-to-wear
View slideshow48 photos
View slideshow48 photos
By moving the event from the Louvres or Orsay museums to this concrete structure that promises to be a flagship place for Louis Vuitton, Nicolas Ghesquière also draws attention to his fertile imagination to immerse himself in a place with a brutalist style. Year after year, he unveiled his intimate constellation of architectural works. And highlighted collections that pursue the quest for an absolute of beauty, both in their design and in the setting in which they are presented. Here, the public was able to discover a space under construction covered with an orange tarpaulin imagined as an inflatable structure resembling a giant hot air balloon. A reminder that travel is rooted in the brand's DNA.
Charm of a French look
When the show starts, Nicolas Ghesquière directly echoes this note of escape. At first, the first female travelers were airborne. We find in them the indefinable charm of a French look, in these long floating and vaporous skirts whose wise spirit is jostled by hair in the wind and leather bombers. It's all about attitude, mix of materials, period, cultures and prints. This silhouette that he designs speaks to us, and yet, it is new, never seen before. As the parade progresses, he gives a decisive role to the wide belt, an accessory that he makes able to feed an obsession. Here, it gains importance worn low waist, on a skirt or leather pants. This nonchalance continues with the cult of the stripe that is illustrated on liquettes, wide evanescent trousers associated with leather corsets. They bring softness in the sharpness of the cuts. This mix of eras is also noticeable in the open pumps and high heels of the models. Covered with twisted leather, they plunge us into a very eighties look, just like the music of Zaho de Sagazan, new flame of French song, whose songs take place on a synthpop frame. But Nicolas Ghesquière allows himself to remind us here that clothes are not just inspirations. The projection that we put there does the essentials. Proof that the message got through: the parade ended with a standing ovation.