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Autumn/Winter 2019 Ready-To-Wear

浙江12选5:Louis Vuitton

location - ▶快乐双彩玩法计划软件▶快乐双彩玩法天天计划▶快乐双彩玩法人工计划▶快乐双彩玩法在线计划▶快乐双彩玩法稳赢计划 快乐双彩玩法 www.uib2q.cn Paris, 05 Mar 2019

Having Nicolas Ghesquière close the season after four weeks on the road can be a shock to the system. Confronted by a heavily 1980s influenced collection shown in a one-to-one copy of (part of) the Centre Pompidou built within the Louvre, it was largely different to the waves we’ve become acquainted with this season. “In fashion we’re excited to discover shapes we don’t know. New things, or things that seem new at the time, are sometimes controversial. It takes time to understand things and I love that idea. I love the fact that this creation was so criticised at the time but became so important for culture. The eyes get used to it and we change and evolve,” Ghesquière said, referring to the Centre Pompidou, whose multicoloured tubes and "inside-out" structure caused outrage when it was built in the 1970s. While it’s become a national treasure, it’s hard to imagine that a similar new structure wouldn’t still enrage the majority today.

The Louis Vuitton collection was rooted in a hip 1980s aesthetic, lifted into the future by Ghesquière’s planetary and orbital garment sculpting. He’d dreamt it up, he said, by imagining what it must have been like to people-watch at the cafés around the Centre Pompidou back then: the Beaubourg designed by Christian de Portzamparc and the Costes by Philippe Starck. “That place mixed fashion people with street dancers with goths with ex-punks with museum people, who could be quite eccentric. It’s that crowd.” Whoever those urban tribes were, on Ghesquière’s nostalgic runway they had a lot in common with the pop culture of the decade. Apart from the general air 1980s youth cinema - 1983’s Liquid Sky and 1984’s Breakin’ came to mind - you could easily draw parallels to the looks of Klaus Nomi, Neneh Cherry, Leigh Bowery, David Bowie, Madonna and Janet Jackson.

Ghesquière said it was about “self-expression”. “It’s not a styled collection. We didn’t do styling. There’s not a look that you recognise throughout the show. It’s a look where every community has different signs of recognition. And that can be controversial because when you see codes you don’t understand you push yourself.” He was certainly right about the last part, but even if the designer treated the overriding 1980s references with his expert cutting and craftsmanship, the look was still undeniably his. In a season that’s mainly dealt with the decadence of haute couture and the degeneration it inevitably generates, Ghesquière will have taken great delight in showing us something entirely different. Who knows, maybe we’ll all be dressing for a 1980s exhibition at the Pompidou in the near future.

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