Apparently the studio director for Vuitton ladies, Julie de
Libran, is having a 60’s fit. Continuing
on from the Spring presentation, there seems to be this overriding 1960’s mood
which even seemed to appear as the incarnation of Peggy Moffitt, the “it” model
of that moment.
One of the most telling features of this capsule collection is
that with Marc Jacobs signing off on the collection, Louis Vuitton has suddenly
started to look like the Marc Jacobs collection. There is less blah blah blah but still enough
to try to give the raison d’etre for the collection. As far as I can see, we still get a pile of
wildly expensive clothes that is much more globally influenced, meaning Far
East and Eastern European, rather than the slick international urbane look. When a company such as Louis Vuitton takes to
installing mammoth logos on clothing and then using logo fabric as the basis
for apparel, then you know this is not for their clients in Paris and New York,
unless of course tourists. In fact it is
an extremely unappealing commercialism applied to so called luxury merchandise;
back to conspicuous consumption.
The profusion of lace, the experimental fabrications, the
extremely odd proportions of many pieces remains an enigma as to who is buying
this, maybe wearing this and why. We can
also see the rather direct “reference” to Chanel in certain pieces. Once again, the Emperor’s New Clothes are on
the runway. Once again I must say that
it’s a good thing that LVMH relies on handbags and gew gaws to sustain the cash
cow known as Louis Vuitton because we know it isn’t clothes that fuels this
locomotive.
On a positive note, I loved the hose and the ribbon tied
pump.
The kitschy collection really should be at Zara and not
hanging on racks in Saks Fifth Avenue and Louis Vuitton stores worldwide!
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