Sunday, May 26, 2024

La Vida Vuitton - Cruise 2025

Park Güell is a realm of enchantment, a dreamscape for any wanderer. Last evening, beneath a perfect sunset, it became the stage for Louis Vuitton's ethereal Cruise 2025 show. Nicolas Ghesquière continues his architectural pilgrimage, encouraging guests to explore or rediscover Barcelona's extraordinary Antoni Gaudí heritage, a singularly unique genius who embraced Art Nouveau, known in Spain as Modernisme, manipulating materials, particularly ceramics, to create undulating corners, edges, and columns. His structures seem almost alive, with colours that pulsate. "It's a utopia," the designer explains, "which I always find appealing! It blends nature with urban design. Gaudí represents a world unto himself, a singular and fascinating perspective, and particularly the distinctive way an architect has shaped the personality of a city." The occasion drew a distinguished crowd, including the likes of Léa Seydoux, Sophie Turner, Zaho de Sagazan, and Lous and the Yakuza.

The show began in the impressive hypostyle hall, featuring 86 massive columns and a ceiling adorned with mosaics. Jackets, seemingly simple, elegantly draped as if suspended on the models. A series of black outfits, from leather jumpsuits to full ensembles, were sharply tailored, highlighted by ‘cordobes,’ wide wicker hats that accentuated and dramatised the silhouette further. The dresses featuring a plumetis effect were truly beautiful. The boots, a hybrid between riding boots and cowboy boots, extended to the thigh and actively contributed to shaping the silhouette.

¨The sand and earth-toned outfits paired picador-inspired trousers with large stoles sweeping over the chest, ending in fringed leather booties, creating an aura of mysterious desert women. Occasionally, a harness of large dark ruffles and lace would wrap around the body, adding a dramatic touch.¨ - Charles Daniel McDonald

Among the bags, there were many, both familiar and new, including a series that echoed the columns of the venue. Additionally, there were some mesh pouches, likely a subtle tribute to Paco Rabanne, the renowned Spanish couturier, and a nod to Julien Dossena in the audience, the Artistic Director of the aforementioned house and Ghesquière's dear friend.

One of the most striking scenes came during the finale, with grand, voluminous skirts in billowing silk faille, vividly pigmented in royal blue, frenetic red, and regal green, evoking a sense of post-modern ceremonial elegance. Nicolas Ghesquière reflected, “What particularly intrigued me was the oxymoron of flamboyant austerity that is so palpable in this country. The chivalric spirit. The Moorish influences. And specifically Zurbaran, for his fantastic use of colour, the admirable drapery, the chiaroscuro, and this very luminous black.” That evening, against the dreamlike backdrop, colours took on a different kind of presence in the fading sunlight. They demanded to be spoken of long after, to be etched in memory like a painting.

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