After the pandemic, the resort collection seems to have become a breath of fresh air for Nicolas Ghesquière after the pandemic. At his last two shows in Paris, this spirit of joy for returning offline was also felt, but it was in the resort collection that it manifested itself most boldly. The models resembled goddesses from Greek mythology, female warriors, Amazons, and, at the same time, gentle court ladies. Was Louis Vuitton ever so brash? We doubt. An incredible riot of textures, a mixture of volumes, broken lines, colors … Ghesquière destroyed the LV corporate identity. At a preview of the exhibition, he said:
But there is one tradition that he continued to observe: to put on a show against the backdrop of architectural masterpieces with incredible views; for Examples are the house of Bob Hope John Lautner in Palm Spring, the Niteroi Oscar Niemeyer Museum in Rio de Janeiro, in the Miho Museum in Japan. This time the choice fell on the Salk Institute for Biological Research in San Diego. Unusual laboratory buildings are located along the central alley with a narrow fountain. On top of that, the show began at sunset, which gave the metallic and gold textures of the outfits a special glow. “The guest of honor of the show is the sun,” said Ghesquière.
The designer used a lot of metalized fabrics and jewelry, glass, and mirrors. He wraps linen around his head and across his body and airbrushes square-cut tops and miniskirts. There were also dresses, one larger than the other, cut from heavy jacquards (the designer compared them to molten lava), which looked like they could reflect enemy fire. They would have looked very stately if not for the sneakers in which the models walked. There were three cropped jackets at the finish line with huge sculpted collars that flowed into the shoulders, as shiny as armor. Perhaps this was the most unwearable collection of Ghesquière, but future fashion designers will certainly study it at the institutes.