Kudos to he who holds a view that risks getting him on the wrong path with those who writes his pay check
Those who follow Nicolas Ghesquière on IG—to date, 827,000 of you—would have seen this. Mere days after his bosses Bernard Arnault and Michael Burke made a show of LV’s investment in Alvarado, Texas, some 65 kilometres south of Fort Worth, birthplace of Kelly Clarkson, with a pleased-as-Punch Donald Trump, Mr Ghesquière posted on IG the cover of the single of American singer Evelyn Thomas’s 1984 dance hit, High Energy, followed by an unambiguous message—“Standing against any political action. I am a fashion designer refusing this association #trumpisajoke #homophobia”.
This contrasts sharply with what Mr Arnault, LVMH chief’s executive, told members of the media that day: “I am not here to judge his (Donald Trump’s) types of policies. I have no political role; I am a business person.” That is not an affirmation of no political view, which, perhaps, prompted Mr Ghesquière to express one. We are not sure how tolerant French corporations are to opposing thoughts of their employees, but this, from the standpoint of those of us who grew up professionally in a conservative corporate environment, may elicit a strong reaction from the boss that could lead to dismissal. Or, are we being dramatic?
Mr Ghesquière could be riding on a popularity high and may wish to use his platform to say something that other designers won’t. He received a standing ovation during the recent spring/summer 2020 show for Paris Fashion Week and was featured on the cover of T magazine last week, in which he was quoted saying “I was never trained as a businessman and I will never want to be one.” Sure, one does not have to see eye-to-eye with one’s boss, but could all these seemingly contradictory messages be construed as a sign of defiance? Or, does fashion need such opposition of thought for it to encourage creativity?
Mr Ghesquière, who has been Louis Vuitton’s artistic director for women’s wear for six years, has done much to set the brand apart from what is ailing luxury fashion, not just in Paris, but much across the fashion capitals of the world, taking strides in his own distinctive view and speaking in his own singular voice. Just as his bosses Bernard Arnault and Michael Burke have the liberty to do business in Trumpland, he, too, has the right to share his thoughts. Nicolas Ghesquière should be appreciated and applauded.
Who Is Evelyn Thomas?
Mr Ghesquière posted on IG a cover of the single of the 1984 dance hit by Evelyn Thomas, High Energy, which, if we remember correctly was mixed by Victor Flores, an American techno DJ of the ’80s, whose work included remixes for mainstream acts such as Wang Chung (Dance Hall Days) and Joe Cocker (You Can Leave Your Hat On). Mr Flores’s various mixes of High Energy (actually, we prefer the Almighty 12″ Definitive Mix from 2009 for its more stomping—almost Dead Or Alive—rather than the typical pulsating beat) became huge that year (and several later), a big, anthemic chart-topper that was especially popular in the gay scene, which may explain why Mr Ghesquière chose it to accompany the hashtag #homophobia and to underscore Donald Trump’s perceived homophobic leaning.
Ms Thomas, now 66, was already a recording artiste, singing jazz and gospel, when High Energy scored. The track was co-produced by the British/Irish duo of Ian Levine and Fiachra Trench, and it was, in fact, their second collaboration with Ms Thomas after a first single Weak Spot failed to scale the charts. Ms Thomas was credited for creating the dance genre Hi-NRG, the staple of gay clubs in the mid-’80s, but ‘high energy’ was already gaining traction when DJs, declaring disco dead, used the term to describe dance music that played faster than the typical dance track prior to that. Ms Thomas was just singing the right song at the right time.
High Energy opens with a cheesy melodic synth intro that would typify disco tracks of this time and be a clarion call to disco-goers to rush to the dance floor to kick into dance. But this rousing musical device was already heard, a year earlier, in So Many Men, So Little Time, also a Levine/Trench production and another huge club hit and, understandably, also a gay anthem, sung by Miquel Brown, Amii Stewart’s step-sister, and Sinitta’s mom(!). In fact, the frightening catchiness of these songs would eventually transpose from gay clubs to the more mass discotheques that, at the risk of sounding elitist, the bengs and lians patronised with delirious regularity. Regardless, Mr Ghesquière has put a tune in our heads and we can’t get it out!
Photo: Instagram/Nicolas Ghesquière