Louis Vuitton Resort 2018 Review

     Louis Vuitton's collaboration with David Bowie costume designer Kansi Yamamoto was a triumphant success and soaring representation of modern Japan without being insulting or too gimmicky. Vuitton under Nicolas Ghesquière is all about far-flung collections easy for travel. In fact, that is what Vuitton has always been about since its inception in 1854 as a luggage brand for the adventure seeking wealthy classes of Europe. In today's age, the wealthy class still loves to travel, but the world as a whole is so much more aware of itself and different cultures. The last thing Vuitton would want to do is offend any demographic they are trying to sell to. Thankfully, this Resort collection explored Japan in a non-appropriative way. Kabuki style makeup, sharp tailoring, and fabric blends that signifying the world's cultures all coming together showed Ghesquières respect and coherence while still speaking the Vuitton language. It's easy to go on and on about the otherworldly location on which this collection was placed, as well. Kyoto's Miho Museum and bridge lifted hearts and syncopated the fantastic blend of nature and hyper-modern steel. Though this is not Ghesquière's first big outing for Vuitton, this is certainly the best so far. Unfortunately, Vuitton can tend to look repetitive when presented down a runway. There's little drapery, and usually only two silhouettes: tailored tops with skin tight trousers, or a knee length dress, also skin tight. However, this Resort collection expanded on those two silhouettes, and allowed for more flow to gowns and embellishments that people crave. Most identifiable to the theme of Japan and Yamamoto's work were the beaded gowns shaped into traditional art inserted and sheer ruffles. This is a way forward for Louis Vuitton under Nicolas Ghesquière and it should be able to expand itself technically in order to create more inspirational clothes. 

Louis Vuitton Spring/Summer 2014 Ready-to-Wear Review

     Marc Jacobs' farewell show to Louis Vuitton was a triumphant one. The fashion businessman had installed sixteen years of work into the iconic brand. He took the company from a luxury baggage brand and expanded it into an empire full of acclaimed clothing and shoes while keeping the brand's signature pieces. Sadly enough, this was his last collection. He sent out a farewell letter to all those that attended saying that his inspiration was the showgirl, and how each and every one of the women that had inspired him over the years was one. It could be clearly seen that this is what inspired Marc Jacobs. An enormous black enamel fountain spewed water dramatically near a blacked out carousel with "Louis Vuitton" sprawled across it. Each of the women wore dark headdresses made of massive exotic bird feathers that truly showed the "showgirl." The first look to kick off this spectacular was a transparent body suit that had "Louis Vuitton Paris" written in black and bold letters, covering the model's body. The model's arms were wrapped in a glittery rope, and a silver mask adorned her headdress. The show continued with little black dresses laced with structured decorations that served as a boarder for parts that were highlighted in each specific look. The collection also included denim that was rolled to show off black boots, and embellished black leather jackets. Other beautifully dark and romantic pieces included heavily ornamented dresses and leggings, as well as the business jackets shown towards the end of the collection.