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Marie-Antoinette at the skaters

February 19 2018

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The Louis Vuitton 2018 spring-summer collection has arrived in boutiques and with it an anachronism fragrance. To succeed in bringing the eighteenth century into the twenty-first, Nicolas Ghesquière and his team visited the historical collections of the MET in New York. He tells. - Isabelle Cerboneschi.


was last fashion week parade, last october, and it took me away. Probably because it was one of those trips in space-time where I like to forget all the time. The next morning, the precious pieces designed by Nicolas Ghesquière for Louis Vuitton were visible from near, tryable and touchable, although all these brocades, all these gold threads, all these repainted embroidery imposed a certain restraint.

Placed on a saddle, the sneakers worn by the mannequins were immobilized. Even without movement, they had a reason to be: foot sculptures, art-to-wear. These plays, one wants to watch them almost as much as to wear them and feel like a Science Fiction novel hero.

Just after the parade, Nicolas Ghesquière gave some keys to this collection that makes a quantum leap between the centuries, between Versailles and the 1er arrondissement of Paris.

IC: Moving from the 18th to the 21st century is a hell of a trip!
Nicolas Ghesquière: It's an anachronism, this collection. I found it interesting to go looking for what was more flamboyant in the eighteenth century. I wondered how these clothes went in the order of historical costumes and how to incorporate them into a wardrobe today. A lot of people did it before me, but it was pretty exciting to mix them with sportswear - even though I do not want to call them that anymore because they are part of every wardrobe. I liked the idea of ​​mixing shorts to go to the gym to embroidered pieces.

You were inspired by vintage clothes?
We went to the MET which has a fabulous collection of 18th century French clothing. They had opened their doors to me years ago and I went back to see these collections with my team.

Are the brocades inspired by 18th century fabrics?
Yes. It's not about copy-pasting at all: we were inspired by the effects. We wondered how to reinvent them. We used 3D printers before rebreaking everything in France, in a traditional way. There are layers of effects that are both digital and very real, because fully embroidered by artisans. But some clothes are less decorated than others.

There is a little spirit Barry Lyndon in this collection.
This is one of the most cinematic parades I have done. Rather, there is the idea ofdodge, this film where Marivaux is recited in costumes at a suburban college. And it's Woodkid composed the music specifically for the show.

This season Natacha Ramsay-Levi presented her first collection for Chloé, Julien Dossena is always present at your shows and vice versa. They worked with you both. Is there a Ghesquière school?
It's nice to see Natacha reveal, and I loved the Julien Dossena show. It's wonderful to be able to observe developing identities, but when they were working with me they already had their point of view. I know that I worked with idea of ​​requirement. Maybe I gave them things, but they gave me a lot too. We all had the same passion for what we did. I admired them when they worked with me and now that they have a place, I will see their parade and I am very happy.