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Versus Hires Jonathan Anderson November 29th, 2012 @ 11:04 AM


Cacharel Unveils New CEO, in Major Corporate Revamp November 21st, 2012 @ 00:56 AM


Kane Drops Out of Versus in Major Shake-up November 20th, 2012 @ 10:14 AM


Pucci’s Madison Avenue Store Debuts Massive Expansion November 16th, 2012 @ 00:35 AM


Ghesquière Departs Balenciaga in Major Surprise November 05th, 2012 @ 00:43 AM


Sao Paulo Fashion Week: Between Optimism and Fear November 02nd, 2012 @ 00:28 AM


London Unveils Men’s Season Schedule November 01st, 2012 @ 00:36 AM


Azzaro Releases Castello Branco October 25th, 2012 @ 00:18 AM


Revenue Soars 22 Percent at LVMH in First Three Quarters October 16th, 2012 @ 00:18 AM


Rykiel Names Geraldo da Conceicao Artistic Director September 21st, 2012 @ 8:12 PM


Brazil’s New London Pop-Up September 21st, 2012 @ 7:20 PM


McQueen Men Returning Home to London September 12th, 2012 @ 7:19 PM


Roitfeld, Mum and Son, Open in Brazil September 07th, 2012 @ 00:54 AM


Berluti Opens to Big-Time Business in London September 06th, 2012 @ 3:27 PM


Stefano Pilati Back with a Bang at Zegna September 05th, 2012 @ 7:10 PM


Hugo Boss Wows in Berlin, Plans for New York July 06th, 2012 @ 00:17 AM


Salvatore Ferragamo: Crusin’ the Louvre June 13th, 2012 @ 11:04 AM


Michel Klein Gains New Backer; Launches Sunglass Collection June 13th, 2012 @ 00:48 AM


Sykes Jettisoned by Aquascutum; Maurer In at Rabanne June 06th, 2012 @ 00:18 AM


Armani Conquers China, Chastises the Pope June 01st, 2012 @ 11:53 AM



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Louis Vuitton’s Geometric Travel

Godfrey Deeny
October 03rd, 2012 @ 5:52 PM - Paris

Marc Jacobs looked for inspiration just around the corner in his latest collection for Louis Vuitton, stimulated by a once bitterly controversial '80s work of public art located five minutes walk from the luxury brand’s headquarters.

Daniel Buren’s once heavily mocked, and now happily accepted, 260 black and white marble modernist pillars in the 17th Palais Royale inspired Vuitton’s collection, where clothes varied as much as the famed columns.

When first installed, the austere art piece was sneered at for intruding into a majestic neoclassical garden. However, Vuitton’s spring 2013 collection, staged Wednesday, Oct. 3, literally across in a courtyard of the Louvre, won far more immediate acceptance.

In a season dominated by geometry, this was the ultimate conceit, as Jacobs completely eschewed Vuitton’s classic monogram print, and concentrated entirely on its Damier pattern. And again, this check varied from micro sized to two-foot square in a show of considerable contrast.

Vuitton even hired Buren to design a “site specific” installation, which meant four long escalators, up and down which the models moved in couples in and out of the giant custom-made auditorium. Its sheer grandeur complimented Vuitton’s hyper practical image, as did the remarkable precision of this show. It kicked off exactly at 11 a.m. and was over – including Jacobs' bow - in less than 10 minutes. Time wise, it did help that the models walked in pairs, each wearing contrasting checks, though always in the same colors.

Just like the colors, through which this critic by co-incidence walked on his way to the show, vary in height, so did the clothes.

“Vuitton is a company that is about travel. That can be to somewhere in your mind. So, these few minutes are where we want to take you somewhere else, somewhere you have never been before,” Jacobs said backstage.

“The work of Daniel Buren really inspired myself and my team. His wonderful columns are in three different lengths, so the clothes are too!” insisted Jacobs, who sent out mini cocktails, just below the knee dresses and floor-sweeping gowns.

Even before the show began, a clock was counting down the seconds on Vuitton’s website, featuring snapshots of Jacobs kissing a toy fish, perched on a stockman with the tagline, “Marc Jacobs already thinking about Autumn/Winter 2013.”

A shiny blue Polaroid image with white light kernel did little to indicate the direction, however the white square ticket, with furry yellow lettering of the house logo sure did. Jacobs' big technical idea was using strips of carpet to add dimension to the looks.

Though his most charming touch was written; he dedicated the show to Yves Carcelle, the departing Vuitton CEO, the most elegant move in a prim but cool show.

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