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"This cruise collection is a collage"

November 15 2017

[Click on the image to see the gallery]

Nicolas Ghesquière drew a collection that is a mix between past and present, East and West, no and manga theater, a kind of Esperanto stylistic to adopt. Decryption just after the parade. - Isabelle Cerboneschi

IC: Why did you choose the Miho Museum, one hour from Kyoto, for your parade?
Nicolas Ghesquière: We thought it was a bit far from Kyoto, at one o'clock, but we thought people would enjoy being in a great place. I visited this place more than 5 years ago with my friends Hidetoshi Nakata (the footballer, ed) and Mina Fujita. I had found a small picture of this museum in a magazine and asked them what was this place that had been built by Ieoh Ming Pei. They did not know him. We came here together, and of course it stayed in my head. When the idea of ​​a Cruise arrived, we started to think about it.

You have a very strong connection with Japan.
It's been more than 20 years that I come to this country for work, but also for personal reasons. It is a country that I discover every time, a people that fascinates me by its ability to know how to preserve its heritage, its rituals, and at the same time it is a high place of technology, of modernity, the megacity that is Tokyo, doors that open or not. It's very ceremonial and extraordinary.

This woman in her omnipotence of which you designed the cloakroom, is it a samurai of the 21st century?
Yes, she is samurai. The references are very obvious and literal, but we can afford it with cruise. There are references to Shogun, Kabuki, No theater, Kurosawa, Kitano character in the movie Royal Battle. The creator Kansai Yamamoto collaborated in this collection. He was first asked to make stickers, then they became bags, then clothes, embroidery. There is a movie of the 70 years called Stray Cat Rock, with japanese bikeuses who are dressed hyper 1970: it is to this film that the beginning of the show refers. These girls, there were still in Tokyo there are 25 years! All these images inspired me. Everyone has them in mind. They are inscribed in a collective imagination. Using them can be complicated, but I have allowed myself with a lot of freedom. It's a collage, once again, this cruise. I am the foreigner, the exotic, here, who arrives with a French, Parisian collection. But the mixture had to be done. It is the most important collection ever presented by Louis Vuitton.

Some prints look old and reminiscent of Monogram Vuitton.
Precisely, in the mystery of the origins of the Monogram, there is Orientalism. And maybe it comes from Japan. The kimono fabrics that were processed were used, Obi belt fabrics with which fabrics were made by assembling them. We have cut clothes that are rather contemporary, not too referenced in Japan. It's all a game of transformation.

It was wanted to parade in the middle of all this greenery?
It's like a trilogy: the parade of Palm Springs was the desert, in Rio it was the sea, and here it is the green valley, the forests. A trilogy between architecture, - John Lautner, Oscar Niemeyer, Ieoh Ming Pei - landscapes and fashion. The buildings are made for people to move inside. We all do a choreography when we move in an architecture, whether we like it or not. A fashion show is another form of choreography.

The cruise allows you to tell a story in a chosen setting.
This allows for extraordinary projects. Traveling with clothes, people, going elsewhere, it makes you feel more free. And then I have the chance with Louis Vuitton to be able to do these projects there. I would never have believed it. I appreciate.

Looking at the parade I thought aboutPraise of the shadow, and this attenuated shine of which Junichiro Tanizaki speaks in his work.
There is that, yes ...