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. My question is.. "is this cartoon fashion or a parody of fashion?"
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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