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Louis Vuitton 2020 Resort

Travelling Romance And Final Destination Emotions – This Is What Luis Vuitton Resort Collection Takes Inspiration From. Read the Full Review to Find It Out

The resort season is all about designers thinking about long-distance travels, thrilling destinations and unforgettable memories. We’ve already seen the first Chanel resort show under Virginie Viard vision highlighting the concept of the far away runaways in a more high-end way than it usually might be. Few days later Nicolas Ghesquière swoops up the tendency to discover the world, organising an outstanding fashion show in the historic T.W.A. Flight Center, designed by Eero Saarinen in 1962, already from the first glance persuading us to set aside all our important business deeds and run away to another country, or, at least, to another side of the megapolis.Recently remodelled landmark, the TWA Flight Center looks like a UFO grounded amidst the 747s of JFK Airport, becoming a perfect place for a Ghesquière’s futuristic vision reflected in his recently presented collection on May 8th. Designed by Eero Saarinen, the Finnish-American architect in a well-recognised neo-futuristic style, the center closed to public about 20 years ago, in 2001, and the Louis Vuitton show staged last night appears to become the first unofficial opening party of the renewed T.W.A. hotel complete with 500-plus rooms and rooftop infinity pool overlooking the airports 4L/22R.

This is all about how the surrounding atmosphere and location affect, complete and set the tone of the overall collection. Travelling is more exciting not just for the final destination, but for travelling as it is, as a feeling you get by expecting your boarding time, a thought you let to get through yourself, an outfit you’re wearing that will remind the moments of an adventure you’re going to. That’s why the new Ghesquière’s collection is mostly inspired by travelling emotions he lived out covering multiple decades and making eclecticism of the different epochs’ mix more than just a respectful nod to the changing through years ways we dress up for taking off.

It all starts from the ’60s and its playful short steward-dresses and accessories referred by the old-styled T.W.A.’s iconic flight bags. Then it slightly flowing to the era of the ’80s, when bubble skirts and the batwing sleeves found their interpretation even in a more futuristic, typical Nicolas Ghesquière’s Louis Vuitton outer space era, transforming into bold cap toe combat boots straight from the turbulent ’90s. As Nicolas explains, living in the internet age brings to a concept of us as citizens of different decades at once. It’s impossible not to agree considering how constantly changing our manners to dress up and trends we obediently follow.

The main idea is held on Ghesquière’s first impression being a newcomer, highlighted in preview: “[I] was getting back to the first feeling I had when I came to New York.,” bowled over by the city’s statement landmarks, sky piecing skyscrapers, vivid lights and never-stop rhythm of the location that never sleeps.

The collection became a flamboyant mix of everything Ghesquière could blend to each other. There is a perfectly tailored strong shoulder shape leather pilot jacket decorated with small zip details and big spikes, paired with tulip indigo skirt. The pinstriped tulip skirts paired with bandeau-tops and wide straps referring to a safety strap but in a more refined manner – a small reminder of the ’00s when all wore bubble skirts and golfs in one outfit considering it as a peak of high fashion. Diagonal layered with sharp white edges dresses and asymmetric tops regarded the strong aircraft wings, meanwhile, baroque-style puffy sleeves of hand-made floral embroideries make a significant contrast with strong, define forms of the classy asymmetrical hem dresses.

A principal leitmotif was interpreted in statement swags of panné velvet detailed in beaded art-deco embroidery draped over the shoulders of tops and short capes, and rhinestoned capelet wings complemented with nods to DC supervillains, like Catwoman-ish skullcaps.

“As a foreigner,” Nicolas said, “I’m not afraid of the clichés.”

Meanwhile, clichés turn into a good manner when it comes to clothing making. You caught the flow, Nicolas, keep going.