Big On Details

Literally. Louis Vuitton shows size in unexpected ways. And impractical too?

Louis Vuitton closes PFW with a flashy purpose-built set in the Cour Carrée by the French visual artist Philippe Parreno. He and the Hollywood production designer James Chinlund (The Lion King and the upcoming The Batman) have built an installation in the courtyard in the Louvre Palace that looks like a giant rosette made of red sails. Nicholas Ghesquière describes it to the media as “kind of a flower, a carnival flower”. The sheltered runway encircles the strange bloom, with the models emerging from the middle and down a ramp. It is huge and is impressive as a pavilion in a World Expo might be. This is the fanciest set seen in Paris this season, rivalled, conversely, by Balenciaga’s also-artist-created mass (and mess) of mud, both no doubt profoundly costly to set up.

These past fashion weeks, mad as some of the shows were, do not seem to comport with what is happening outside of the annual circus. The UN very recently warned the world that rich nations may spark a global recession with their aggressive monetary policies that “could inflict worse damage than the financial crisis in 2008”. Add to that, the ongoing war in Ukraine, unrelenting inflation, spiking interest rates, and we have the global economy teetering on the brink of recession. And perhaps Louis Vuitton is hinting at how big the downturn might be, even if it is possible luxury labels won’t be that badly affected. Nicholas Ghesquière has not retained the still prevalent upsized silhouettes for LV, as others designers continued to have, but he sure has made large—startlingly and comically—what should normally be discreet: fastenings and hardware.

While Kanye West has declared the omission of zips, buttons, and hardware in his clothes for Yeezy, Mr Ghesquière has gone the opposite way, only that he made sure you won’t miss those zips, buttons, and hardware. What would normally not be noticed are now fasteners begging to be looked at. The buttons are the size of Famous Amos’s soft cookie. The zippers are not hidden (no discreet YKKs!) and come with wide tapes, massive teeth, huge sliders and even larger pull tabs, and as a pair, if they’re two-way fasteners. Little Red Riding Hood would have been duly impressed, and cried out, “What big zippers you have!” And there are those hardware, normally used on bags—these are made chunky too: swivel clips and D-rings, in striking gold no less. Utilitarian turns decorative. But, could a large zipper pull tab under the arm (as seen on a dress with side opening) be comfortable? Forgive our vulgar consideration for comfort. Could these clothes be cleaned in a washing machine without scratching the drum? Forgive our prosaic approach to laundering!

Then there are the blow-up (we think they’re filled with air, rather than down) add-ons that mimic airplane neck pillows, but also found on hips. Or, those framing the neck that look like tubular swim floats (actual ones were used at Moschino). Mr Ghesquière has pulled away from the synthesis of historicism for the paste-up of the usually unromantic components of dressmaking—the trims, and the effect is both quirky and quixotic. Which again magnifies his compositional skill of combining unlikely shapes, pairing uncommon textures, and tweaking unexpected proportions, all within recognisable clothing forms. This season in Paris, two unremarkable garments are poised for posterity—a spray-on dress with the design finesse of anything you’d find in Mango and a T-shirt with a slogan deemed inappropriate and offensive. Despite Nicholas Ghesquière’s notable efforts, his complex and astonishing designs would not top the lasting, viral glory of those two.

Screen shot (top): Louis Vuitton/YouTube. Photos:

And There Are Panniers

Puffed and draped hips at Louis Vuitton. Is Nicolas Ghesquière (still) in social-distancing mood? Or status asserting?

Nicolas Ghesquière seems to derive some perverse delight in mixing up eras, decades even, a gleeful time traveller who can’t stop bringing the past back to the present, like some 15th century adventurer returning to Europe with crops from the New World. And he is doing it all again for spring/summer 2022, taking us back in time, although, according to the Louis Vuitton show notes, “time is of no consequence.” But they are also quick to add, “yet time is everything. It dissolves functions and codes. It unites wardrobes. Day becomes night. The humble uniform becomes sumptuous.” In the hands of Mr Ghesquière, nothing is ever that humble, not even a tank top. Under the row of packed chandeliers in the Louvre, where the show is, again, staged, near-costume clothes are shown, as if a party season is approaching, and the models are going to some extravaganza at some place not less dazzling than the Hall of Mirrors. Yes, we are thinking of the Yew Ball (le bal des ifs) of the 18th century, the mask dance where King Louis XV and his male courtiers reportedly turned up as topiary yew trees!

To be sure, in Mr Ghesquière “grand bal of time”, none of his models strut as plants clipped into fantastic shapes. But there are the harlequins. Or, those designed as eyewear, which seem to belong to bals of more extravagant times. And, undoubtedly, the panniered skirts, seemingly out of a Velázquez painting, only far much lighter. These could be what Maria Luisa of Parma (later the Queen of Spain in 1765) might have worn if she were the equivalent of today’s punk princess or crazy KOL. These are not the stiff, sofa-like contraptions of yore. Some of them look like flapper dresses given side hoops underneath. They bounce and swish with a lightness not quite evident in anything worn in the court of Versailles and the like, and are ankle-length to show off metallic-coloured, laced-up, open-toe boots, also not quite pre-Revolution France. Mr Ghesquière’s transposing of the robe à la française to (nearly) post-pandemic present-day is far more whimsical and technically challenging than other designers adapting, for example, the Greek chiton for modern use. Impractical these dresses are for sure, but the intrepid should give them a spin before they end in museums somewhere.

The ancien silhouette does not stop at the hip-extended skirts. There are details such as ruffles, too, like skirts for the neck (they aren’t exactly ideal for a date night of curry dinner!), as well as the staggering and striking use of passementerie, especially on the bodice, such as braiding and cording, galloons and gimps, showing the skills and artistry that the French were—and still are—known for: their elaborate and sumptuous metallic thread work. Such ornate ornamentation recall the clothing of the elite, especially before the 18th century, when royals, aristocrats, the military men, and the clergy required costumes of visible social distinction. Mr Ghesquière is bringing these back for the coming months, when social life, especially the fun-seeking, fashion-asserting fraternising, returns, presumably with a vengeance. These are decorative styles, no doubt, although they are not aesthetically in the same league as Fendace. Is Louis Vuitton suggesting that fashion not only returns to stand alongside pleasure and entertainment, but also wealth and status?

Other looks, too, suggest patrician life or those of the well-born. There are what seem like equestrian styles (or is it just the headwear?) worn with denim pants (jeans?), the mark of humbler status—a necessary pairing to temper the over-sumptuousness? In fact, denim goes with a tweed jacket and a cropped le smoking, and a laced slip dress. There are many capes too, with fabric manipulation (or treatment) on the surface, and they—like the pannier and the passementerie—were once worn to denote rank or occupation (think: a king or queen’s ermine-trimmed red velvet cape). Mr Ghesquière’s mixing and matching across centuries, and the social classes associated with clothes are not new. But this time, he seems to propose, let’s go all hip-sticking out. Let’s not hold back. After all, as Harry Winston said, “People will stare. Make it worth their while.”

Screen grab (top): Louis Vuitton. Photos:

Cruise To Nowhere?

Louis Vuitton is hopeful that people will be travelling and holidaying again. Its Cruise collection is suggesting that dressing up is part of the return to exploring the world for leisure. But are fashion folks thinking of vaccination or vacation?

We can always turn to fashion for hope. In a world fraught with fears that the next COVID virus mutation may be even more dangerous, fashion provides optimism that, in other parts of our life, isn’t so embraceable. Luxury brands call it the selling of fantasies, even dreams. And Louis Vuitton, with a history steep in travel, is offering at least the feeling, if not the assurance, that what we desire can soon be had or that the bad of the present will turn out for the best. As Nicolas Ghesquière told the media, “It’s a very optimistic, joyful collection”. The show notes expanded on that: “…proud, positive looks that advance straight ahead, serenely.” LV, under Mr Ghesquière’s watch, has mostly reflected a favourable view of the world around them—fashion makes the world go round, cross boundaries, cross eras. We don’t recall anything dark or sinister or dwelling in a gloomy place. It has been clothes to be seen in, and in which you’d wish to go somewhere.

But even LV isn’t really travelling, at least not to some far-flung locale typical of its Cruise collections. It is still shown in a monumental place, only now in their own homeland. This season, the show is staged in the relatively-un-known-outside-France attraction Axe Majeur (or Major Axis in English), in Cergy-Pontoise, a languid suburb northwest of Paris. Often described as “an architectural masterpiece”, the Axe Majeur is part outdoor sculpture museum and part urban walkway that may vaguely remind you—in spirit—of Henderson Waves. Designed in 1980 by the late Israeli artist Dani Karavan and the Spanish architect Ricardo Bofill, the Axe Majeur is huge; it is 3.2km long, and boasting a panoramic view of Paris (it is said you can even see La Défense). The show opens with a frame of the obelisk-like columns on one end of the installation and moves through with the models as they walk on a red pedestrian bridge held up by repeated frames, each looking like a minimalist take on the Japanese torii gateway, often found at the entrances of shrine compounds that mark the start of the sacred spaces.

This season is, as in the last, full of this and that—disparate elements that still beautifully come together, as if this has been the arrangement of the cosmos (there’s even an illustration that seems to suggest exploration of outer space). Mr Ghesquière’s LV output is so ideas-driven, they’re not easily absorbed in a moment or by the end of the show. The clothes do not only have the main body, but parts to them. This isn’t the splicing of one garment and adding another to it so that the final whole is matrimony of two—typical of the Japanese; this is a compositional exercise not unlike a pre-schooler playing with shapes—assembling and un-assembling them. And how they come together always provides the surprise and newness, even when the exercise itself has become quite the formula Mr Ghesquière has drawn up for LV. In this way, the seasons seem to flow from one to the next: an ongoing dialogue. Mr Ghesquière has conceived his own aesthetical timelessness.

Many pieces have the requisite It-ness to warrant a space in the already full wardrobes of fans. If LV were to organise another fashion show here, they would one more sell-well collection in their hands. We see attendees (with nowhere else to go) drawn to the waisted dresses with a draw-cord hem, gently pulled to create a slight bubble of a skirt; asymmetric tops with equally skewed placement of print; the band-leader jackets that Michael Jackson would have loved; the square-shouldered blouses, worn tucked into the rear waistband of skirts/pants; and those outers with sleeves that looked like they were moulded from Cathedral ceilings. It appears to us that for a cruise collection, these do not seem to be clothes that those who like to pack light could cheerily bring along—they would take up a lot of space, unless, of course, they’re packed in a Louis Vuitton trunk.

Screen grab (top) and photos: Louis Vuitton

Loads Of This And That

It’s hard to categorise Louis Vuitton’s RTW, and therein lies the charm

The runway’s back at the Louvre for Louis Vuitton. Inside, in fact. In the Michelangelo and Daru galeries of the Denon Wing, where some of the world’s priceless masterpieces reside, including one very famous smile. But the models—only them in the flesh—did not walk past La Gioconda, also known as the Mona Lisa. Although without an audience or museum visitors or fashion show gawkers, they had for company Falconet’s Bather, the Borghese_Gladiator, and the headless angel, Winged Victory of Samothrace, among other ethereal sculptures of antiquity. The clothes, far from classical or classic, share the grandeur of Greek and Roman, and Hellenistic art at its most prodigious. The simple draping on the statues, if dressed, perhaps show how far fashion has come and how complex it has become, in view of the delightful disarrangement of forms that Nicolas Ghesquière has brought to LV.

Flanked by the neutral-coloured treasures and against the additional lighting installation, the imaginative interplay of shapes and patterns are just beguiling. They beg a second viewing, even a third. Or, more. (First time, there he goes again!) To borrow a popular fashion-reviewer description, there’s a lot to unpack. And we don’t mean just the individual pieces, but what’s on them too. Mr Ghesquière, a skilled cross-pollinator, does not leave the singular alone. In his hands, unlikely juxtaposition, with no specific point of reference, become not only destined, they yield such extraordinary results that you know that, if worn, these clothes can bring on the much-touted, but elusive quality: transformative power. A jacket is not just a jacket, it has conversation-starting “statement sleeves”; a sweater is not just a sweater, it’s a tunic with potholes for pockets; a dress with a ’60s vibe is not quite ’60s after all, it is graphically encrusted and looks ready for a time when a pandemic can truly be described with the prefix ‘post’.

Mr Ghesquière tells the press that he wants to convey “hope and joy”. The joy is not only in the clothes, the joy is also in viewing them, in desiring them. How does one resist a bi-coloured bubble jacket that stays true to the name—a globular puff-up that looks as warming and comfortable as it is striking? Or the abbreviated hobble skirts that won’t restrict movements since they end above the knee? Or those cocktail dresses made sportif (raglan sleeves!) that you know will have a long life outside soirees slated for nightfall? These are occasion-blurring clothes. You don’t see which is for the office (who’s going back to the office?), which for economic summits, which for first dates, which for Sunday brunch, which for holidays, which for strolling in the park, which for gala dinners, which for the red carpet (no gowns!). In the world that comes after our present troubles, we should not have to worry about what to wear… for who, for when, for what; we should just wear.

At Louis Vuitton, they have been enthusiastically embarking on art-collabs. This season, Mr Ghesquière teams up with the estate of the Italian artist Piero Fornasetti (1913-1988) to apply the distinctive Fornasetti graphics on clothes and on bags. The treatment on the apparel are most alluring: medallion (or coin?) cut-outs of heads of classical icons placed, collage-like, on a new typography of the brand spelled in full are far much more eye-catching than repetitive monograms. LV, of course, still banks on their monograms, such as that seen on the Damier canvas, to ensure that they are the world’s most valuable luxury brand, but rather than introducing more, Mr Ghesquière opted for a graphical approach, blending images and text in a happy medley of the old(ish) and the current that projects the spirit of pop. Sure, this season, there’s the monogram-like pattern of rows of frets, but they don’t seemed destined for a vapid commercial life. Etore Sottssas wrote of Mr Fornasetti in the introduction of the book Fornasetti: Designer of Dreams, “It is perfectly possible to create a world that has never been, that will never be, using the fragments of a world that has been, a world that one fine day blew up in the sky.” That can be said of Nicolas Ghesquière. In the Denon Wing, that explosion was evident.

Screen grab and photos: Louis Vuitton

Before Yohji, There Was Another Yamamoto

Orbituary | The master of using bold kabuki graphics on his clothes, Kansai Yamamoto, has died


Kansai YamamotoKansai Yamamoto with signature “shout” expression. Photo: source

One of Japan’s less-known fashion exports has died. According to Japanese media this morning, Kansai Yamamoto succumbed to leukemia and passed away last Tuesday. He was 76.

After thirty years of fashion and costume design, and not doing much of the former in his later years, Mr Yamamoto was brought back to the spotlight in 2017, when he collaborated with Nicolas Ghesquière for Louis Vuitton’s 2018 cruise collection. At that time, Mr Ghesquière told Dazed that Mr Yamamoto “was the first Japanese designer to show in Paris (1975)*, so I thought it was really interesting to celebrate that and ask him to design a few things for the show.” There were no reports then that the 73-year-old was ill. His contribution to some of the LV pieces, including the accessories, brought back memories for those who remember Mr Yamamoto’s signature looks of the late ’70s and much of the ’80s, which eschewed the eras’ hippie predictability and the subsequent ‘power’ aesthetics. His work was theatrical and, at the same time, projected an attitude that we today would call street.

Although not always credited, Kansai Yamamoto influenced many designers through the decades, from Jean Paul Gaultier who, for spring/summer 2013, re-interpreted the one-shoulder, one-sleeve, one-leg knit union suit that Mr Yamamoto designed for David Bowie’s 1973 Aladdin Sane Tour to Alessandro Michele, who created similar, large graphics (including their placements) that bore uncanny resemblances to the Japanese designer’s. Much of the oversized shapes we have been seeing this past seasons, and the use of immense illustrations placed in the rear or over shoulder of the garment, as seen at Raf Simons, for instance, can be attributed to what Mr Yamamoto produced for his Paris shows in the ’80s.

Kansai Yamamoto outer

The striking yakusha-e graphic applied on contemporary geometrics, typical of Kansai Yamamoto. Photo: source

Designers were not the only ones who could not erase the indelible impressions left on them by his work. When hairdresser-to-the-stars David Gan wore and posted pieces from the Valentino X Undercover collaboration from last fall on social media, and expressed his love for them, not many of his followers were aware that his preference for strong and conspicuous graphics can be traced to the early days of Passion, when he had a near-obsession for Kansai Yamamoto, alongside his fashion designer pal Francis Cheong. That Mr Gan is, in recent years, partial to Dries Van Noten’s ‘Marilyn’ shirts and jackets, and the London label Qasimi’s oversized denim shirt with the sew-on patch of ‘Kabuki Kiss’ by the American artist Mel Odom indicates that he has never quite pulled himself away from those dramatic images that are larger than he, the wearer.

In the eighties, when Japanese fashion was the rage on our shores, what Mr Gan and Mr Cheong wore stood out because Mr Yamamoto’s designs were not predominantly black, the preferred non-colour of the Tokyo designers showing in Paris then. As one fashion writer told us, “You could spot any one of them a mile away because of their exuberant Kansai jackets.” Of the couple or so retailers at that time that carried Japanese labels, Scene One (at the Meridien Shopping Centre) gave Mr Yamamoto’s kabuki-inspired clothes considerable attention. The shop was opened by the Malaysian (former) designer, Christopher Choo, who was himself a fan of Kansai Yamamoto, as well as the equally attention-grabbing designs of Thierry Mugler and Jean Paul Gaultier, which were all stocked in his store.

Bold was often associated with what Mr Yamamoto did in his early years. But many of his followers saw more than just the upsized graphics and the dizzying colours. One major fan told SOTD, “Others will say the joie de vivre of his early ’80s Paris catwalks, or the exoticism. For me, it’s the opulence, the beading, the riot of colours, the embroidery, the use of metallics—for 3 to 4 years, it was entirely ME!” Yet, much of what is known of Mr Yamamoto’s work is his collaboration with David Bowie following his debut in London in 1971. According to the designer’s own telling, he did not know the singer then. His stylist Yasuko Hayashi, who was working for the rock star as well, had lent the singer some clothes from Mr Yamamoto’s debut London collection. He liked them enough to wear them for a performance in New York’s Radio City Hall. The rest, as convention would have us say, is history,

With Sayoko and capeThe vivid colours: (Left) Kansai Yamamoto at a 1982 fitting with his favourite model Sayoko. Photo: Kyodo/Dpa. (Right): A 1971 cape appliqued with images of kabuki characters and those of mask kites. Photo: Philadelphia Museum of Art

Despite showing in Paris from 1975 until the early ’90s, it seems Mr Yamamoto would only remain in the history of rock ‘n’ roll, rather than fashion. Or, be known as creator of costume, rather than clothes. While his work for Mr Bowie launched him to a wider international audience, his ready-to-wear shown in Paris was to be slowly overshadowed by the unusual, un-Parisian collections and shows of first, Issey Miyake and then, the two behind what was called the “Japanese invasion”, Yohji Yamamoto and Rei Kawakubo of Comme des Garçons. While his compatriots tapped into their cultural heritage to set themselves apart from the French, Kansai Yamamoto made it his forte. His designs that were loved drew from Japanese theatre, in particular, the kabuki. He was gleefully using images of old yakusha-e, woodblock-printing of famous actors of the day, known in the West as “actor prints”. These, he juxtaposed with delineations seen on mask kites and then employed them against modern patterns in the spirit of his favourite Momoyama period of Japanese art, which is thought to be dynamic and opulent. Fittingly, the results were electric.

Kansai Yamamoto was born in Yokohama in 1944, a year before the Americans dropped the atomic bomb on Hiroshima. The eldest son of a tailor, he lived a good part of his formative years in a children’s home after his parents divorced. He studied civil engineering, and even English, but gave both up for dressmaking. Mr Yamamoto was largely self-taught although he did apprentice at Junko Koshino (one of three designing Koshino sisters) and Hisashi Hosono, a designer of lady-like clothes. In 1967, he was awarded the prestigious Soen prize (that launched many designers, including Kenzo Takada) at the equally reputable Bunka Fashion College. Four years later, still-swinging London beckoned, and he moved to the English capital, staging his first runway presentation there in 1971. Harpers and Queen describe it as “The Show of the Year….a spectacular coup de theatre.” He would continue to show in the city until 1975, when he debuted in Paris, possibly after hearing of the success of Mr Takada’s Jungle Jap, a store in Galerie Vivienne. Two years later, Mr Yamamoto opened his eponymous boutique. In the autumn/winter season of 1992, he presented his last collection.

It is hard to say when Kansai Yamamoto fell out of favour with the trendy set—hairdressers and fashion designers too. By the time he presented his swan song, his designs had lost their theatricality, perhaps as reaction to the preference for more practical clothes in the ’90s. The inventiveness and the playfulness of his early years seemed to have waned. In retrospect, his work in the ’70s was prelude to everything the fans liked about him. To them, his output of this period was modern in a way Issey Miyake’s designers would prove to be enduring. He didn’t go all out with the kabuki stuff; he showed mastery of cut, shape, and proportion too, which reflected the Japanese ideal of not restricting the body. Yet, for all the inventiveness he clearly offered and the subsequent influence that reached others, Kansai Yamamoto, in death, would be, as The Guardian’s headline showed, remembered as the “designer and David Bowie collaborator”.

*Kenzo Takada showed his label Jungle Jap in his small boutique in 1971 and Issey Miyake presented his first pret-a-porter collection in 1973. It appears that Mr Ghesquière was mistaken about Kansai Yamamoto Paris debut

A Disappointing Close

Louis Vuitton could always be counted on to end the four-city fashion season with a bang. So why the cacophonous whimper?


LV AW 2020 P1

We watch the Louis Vuitton live stream once, and then again when it becomes available to view as a post. We are not sure what to make of it. This is a lull season for them, we conclude. Louis Vuitton, closing PFW and marking the end of the four-city rush that makes fashion weeks (in view of the unceasing COVID-19 outbreak, none has cancelled or gone online only), has always been a restorer of our faith in the creativity of fashion when increasingly what’s creative is being redefined or ignored. But what we have thought might be able to reverse the built-up dismay is no longer so. Not this season.

Nicholas Ghesquiere has always been an enthusiastic stirrer of the big fashion pot made increasingly vapid by those who add nothingness into it. Although his debut at Vuitton was not the stuff of fashion legend, he has put his distinctive stamp on the house in these past years: wearable separates that are melanges of fabrics, textures, prints, patterns, all in a delightfully varied mingle of the compulsory past and the fantastic future. But this season, while the blending is still there, they don’t coalesce into anything cracking, certainly not, as before, sublime. Is Mr Ghesquiere saving his better ideas for later by pausing to create a greatest hits, like how it was when sitcoms used to look back at the “best moments” between seasons or when writers were on leave?

LV AW 2020 G1LV AW 2020 G2

To be sure, he’s still up there breathing the rarefied air of luxury fashion—a stratosphere he brought along from his previous tenure at Balenciaga. Mr Ghesquiere is a technically sound designer, far more than many of this peers, even within the LVMH group, and, without doubt, more so than his colleague designing the men’s collection. He understands that no matter what you do to a garment and after what you do it, it must still look like something destined for the body. An ardent proponent of the odd pairing, he works with mostly traditional forms and relatively conventional silhouettes and yet within them he is able to create additional components that render the end result unexpected and, oftentimes, novel. We’ve seen him meld contradictory elements, those that are not meant to match, into breathtaking wholes.

Mr Ghesquiere is still able to do all that, but somehow, in presently messy and complicated times, which LV admits to in a pre-show video posted online, the collection is weighted by its own excesses and, especially, excess of cleverness. While other designers have nothing to pull out from their bag of ideas, Mr Ghesquiere seems to saturate his designs with more. A ton of ideas, however, isn’t necessarily any measure of brilliance. Maybe it’s the mood of the times and the mood we’re in—here in Southeast Asia, much of the collection look to us over-designed; even overwrought. And, worse, repetitive. The smorgasbord isn’t appealing when you’re not hungry. Or, when much of the Paris season has made you lost your appetite.

LV AW 2020 G3LV AW 2020 G4

The collection, according to LV’s PR material is called Anachronism, which may well describe the designer himself. He admits to the media: “I still breathe the past”. Mr Ghesquiere’s anachronistic approach to design, with a weakness for the ’70s and a pull from as far back as the era of the Sun King to a future indeterminate, has seen him excite with more hedonic rewards than all the retro-bent American designers combined. But he should have stopped at last season’s Belle Époque. All this mixing is headache-inducing. Do we need so many eras, so many points of reference in one garment?

Take the inordinately busy outerwear, a result of his predilection for mixing fabrics and patterns: they now seem a tad too Sacai for comfort. As you go on, White Mountaineering comes to mind. Louis Vuitton in a Japanese state of mind? Then those dresses, in particular the sheer baby doll with the four-tier hem (the bouncy tiered skirt is an LV highlight this season). This is worn over a (typically Nicholas Ghesquiere) panelled top and similarly sheer pants. Someone is taking his cue from a fellow LVMH brand.

One curiosity to note. For the past few seasons (we have not been able to trace back far enough), we noticed looks that appear to be for guys. This has been evident even when Kim Jones was still taking care of the sibling homme collection. Two years ago, we asked a staffer at the Louis Vuitton flagship here if Mr Ghesquiere makes a capsule for men. “No,” the affable woman told us, “but men like to buy our womenswear.” Which begs the question, are the boiler suits and motocross pants to attract potential male customers or, as 21st century wokeness demands, for the manly women who have never bought a dress in their life? Wouldn’t Virgil Abloh have taken care of them? Or are we being too binary? Complicated times, no doubt.

Photos: Isidore Montag/

Nicolas Ghesquière Takes A Stand

Kudos to he who holds a view that risks getting him on the wrong path with those who writes his pay check


Nic G IG post

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

Modern Men Pose Among Flowers

These are not thorns among the roses; they are poses with the posies


Men among flowersNicolas Ghesquière (left) on the cover of the latest issue of T magazine and a fashion spread (right) in a September issue of The Guardian

By Ray Zhang

I first notice this a couple of years ago in Hangzhou’s Xihu (西湖 or West lake). Beneath the low cherry blossom trees during that spring day, the men—among themselves or with their female companion(s)—would pose with the flowers, often pulling down a branch, or two, of the clustered blooms to frame their fair or weather-beaten faces for photographs. There was something incongruent about the scene, which, against the conventional beauty of the lake and the yemen (爷们 or menfolk, but really means machismo) attitudes, seemed atypical. Some might even say aberrant.

I would not have guessed that what I saw was a foretaste of things to come. Cut to the present, when the woke do not concern themselves with gender that is binary, flowers and men in a photographic composition are no longer a curiosity. Nicolas Ghesquière appearing among blooms on the cover of the latest edition of T magazine (top left) and a September fashion report in The Guardian (top right) attest to this cultural shift. Men among flowers may even be more acceptable than those in skirts.

Popular culture is strangely limiting in its apportioning of what genders need, or can be aligned with. Frankly, I do not know when flowers are considered feminine (or feminising) although I have some impression that men have always not minded just a spot of flowers—the boutonniere a vivid example. Yet, there still seems to be an undercurrent of a boys-do-not-play-with-Barbie moment when it comes to guys seen with flowers. Even when I hold a bunch of pussy willows (very un-floral blooms) on my way home in the MRT train after the CNY fair in Chinatown (yes, an annual ritual), I will always get people looking at me as if I am clutching something as flashy as peonies. Encouragingly, cultural expectations, like fashion trends, do change. And men might now be more excepting of being associated with bouquets that go beyond just the giving of them.

I also remember, apart from what I saw in Hangzhou, a 2018 BBC Travel report on the “flower men” of the Asir province in southern Arabian Peninsula. Male members of the Qathan tribe wear a crown that comprises flowers, herbs, and grasses as part of their traditional costumes and these can be as pretty, but no less masculine, as a Christian Tortu centerpiece, yet it is not known that they are a threat to their masculinity. Tribal culture far more unbias than our modern mores?

Many things once considered threatening to masculinity are, of course, becoming exoteric and public consumption is on an all-time high. But I do wonder if this trend in photographing males among flowers has anything to do with the Beyoncé/Tyler Mitchell-for-Vogue effect. Are guys taking the cue from Queen Bey? Or have we finally allowed the blooms of bigotry to wither and fade?

Photos: (left) Pieter Hugo/T magazine; (right) David Newby/The Guardian

LV’s Trip Fantastic

Nicolas Ghesquière makes Louis Vuitton a worthy closing journey for Paris Fashion Week


LV SS 2020 P1

Since the time he was spotlighted at Balenciaga, Nicolas Ghesquière’s designs have the pleasing ability to make us wonder. How does he do it? Why does he do it? How does he come to such an idea? What’s behind his thinking? At Louis Vuitton, he conceives such compelling collections that those questions continue to happily enter our minds. A welcome occupation, musings that won’t come to those queuing to get into an LV store. And that’s okay.

As the media reported it, the inspiration this season is La Belle Époque (beautiful age, a time in Paris when the arts flourished). But it is one that gleefully clashes with the ’70s—no Sarah Bernhardt, no Lina Cavalieri, no La Belle Otero, perhaps Cléo de Mérode reincarnated as Catherine Deneuve, or, more likely, Anita Pallenberg (her “evil glamour” a deal maker!). Even his take on the Gibson Girl is more Katniss Everdeen than Dolly Gallagher Levi. The thing is Mr Ghesquière is not inclined to be so era-specific. He is especially deft at referring without actually pointing to references. Sure, there’s often the nod to the ’70s, as with this season, but it tends not to hum the same tune as others obsessed with that time do, such as Tom Ford or Marc Jacobs.

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If associations with La Belle Époque are obvious, it is mostly in the prints, which seems like Jacques Gruber meets Kasia Charko (the illustrator of Biba’s ads and poster), handled with the delicacy of Antonio Daum’s crystal work and then put through the filters of MeituPic, and, occasionally, camo-fied. In fact, we can’t seem to get enough of the prints, intrigued by their composition, amused by how, in sum, they are less Art Nouveau than Flower Power. When they take the shape of clothes, there is a judicious balance of graphic interest and enhancement of the structure of the garments, which, regrettably, has been missing in brands that market prints as crux to their design.

Many commentators regard Mr Ghesquière as a futurist, but to us, he is more a fantasist with a flair for costuming a fashionable pantomime. The styling, for example, counters the general practice of what is considered tasteful. Wearing the collar outside the neckline of a sweater always felt to us too geekish, or, outside a blazer, like a pimp. Yet, collars, conspicuous and boldly shaped, are placed out of the neckline of the outers. How Mr Ghesquière also plays with curves within certain parameters: the pronounced but arched shoulders and the circular collar and rounded lapels can come together like an interplay of petals, is fascinating and a study of how a tad more is not necessarily superfluous.

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And the colours! They are not quite a riot—somewhat muted, in fact, but they are rich, negating the believe that only black is chic. In fact, black is not central to the collection, no one colour is. Against a video projection of blue sky and the transgender singer Sophie singing (and emoting), the palette projects a happy—slightly off-beat, if you consider the pronounced red and shape of the models’ lips—vibe that is not inconsistent with what the flower generation tried to nurture and communicate through their choice of ethnic-leaning clothes. Sure, LV is not quite that trippy, but in spirit, it’s as anti-conformist and anti-repressive, and beams with embraceable energy.

It is heartening to see that, while Louis Vuitton’s men’s wear is taking a trajectory of no aesthetic certainty, its women’s RTW is marching on extremely nicely under Nicolas Ghesquière. And as other brands under the LVMH umbrella continue with predictable hum (not, to us, buzz) and the usual codes, LV reverberates with much more directional and off-centre aplomb that continues to make the ride jaunty. Mr Ghesquière may need to look back to lurch forward, but some of us are eager to go along. As Joni Mitchell sang in 1970’s The Circle Game, “We can’t return we can only look/Behind from where we came/And go round and round and round/In the circle game”.

Photos: Lucioni/

Dress Watch: Sweatshirt Dress On Steroids

LV Sweatshirt dress

Louis Vuitton calls it a sweatshirt dress, but it is nothing like what Norma Kamali popularised back in the Nineties. First seen in the autumn/winter 2018 show back in February, this is the epitome of the tussle of complexity and simplicity that modern fashion finds itself in, without a mess as a result. It captures in one outfit two themes that Nicolas Ghesquiere is fond of exploring: retro-futurism and sportiness

This dress has been in the LV window for weeks now, and each time we passed it, we can’t help but stand before it to examine it. The overall simplicity is beguiling. The rounded shoulders enhance the slightly generous volume—still a trend—without making the dress appear too oversized, yet it seems to give the upper bodice a little brawn that suggest power without the need to resort to exaggerated shoulder pads.

At first glance, we thought it has raglan sleeves, but it does not. The extra white panel brought down from the shoulder to the mid-upper arm is in fact a part of the patchwork of the upper bodice and arm, comprising twelve pieces on the front alone! The mixed fabrics, including a barely discernible strip of LV logo on the right arm and floral devoré across the shoulder, give the overall mix an artsy vibe.

Contrast that to the solid colour of the body of the dress and you get a composition that represents the essence of sporty chic, if that’s not an oxymoron to you. Perhaps, more importantly, it is thoughtful design that does not resort to visual trickery and excess commonly associated with performance at the circus than stylish dress away from the spotlight.

Louis Vuitton sweatshirt dress, SGD2,910, is available at LV stores. Photo: Louis Vuitton

Bold In The Climate Of The Banal

In the fashion of the present, you can either be palatable or a punchline. Nicolas Ghesquière chose neither


LV SS 2019 P1

You often see long queues outside Louis Vuitton stores, even when, looking in, it is far from busy as Fairprice on PG Day. It isn’t hard to guess what most people line up to buy: not the clothes, if you aren’t sure. But, increasingly, the clothes are the reason some of us are willing to get in line with the bag/wallet/sneaker/trinket hunters for a chance, if not to cop, at least to view the apparel, which deserves to be appreciated up-close. Nicolas Ghesquière has more and more offered on the runway garments of such compelling qualities that Louis Vuitton is one of the few fashion labels today that inveigles fashion aesthetes to walk into a store for a closer look.

The brand’s final show of Paris Fashion Week will again encourage some—perhaps many—of us to join the queue: those blousons ruched at the shoulders, those jackets with peaked lapels that were fashioned to look like deconstructed star of David (especially the khaki version with white lapels), those pleated and billowy sleeves, those vaguely space-age-y tops with re-enforced dropped shoulders, those sort-of cocoon coats with coloured shapes, and even those cargo pants (a reiteration of those from his Balenciaga days?). Only through actual contact would we then be able to discern the unusual details, extras, and seam placements that have come to characterise Mr Ghesquière’s work for LV. That, for us, is the real deal: up-close, at which point the clothes offer the chance to enthrall.

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It is this “another level” aspect, through a very specific lens, that reflects a design muscularity Mr Ghesquière’s predecessor never had despite his later physical brawn. And the reason why so many are disappointed that the distinctive world Phoebe Philo created for Céline (as spelled during her day) has met its end time. Even a view at an LV store window is good enough for some because there is always adequate to astound even the most seasoned fashion follower. Film fans seeing a costume exhibition of their favourite movie experience similar pleasure and tingle.

Mr Ghesquière’s designs, in the past four seasons or so, have a powerful and irresistible effect. No particular aspect is central to his themes and ideas. Instead, he works with multiple visual and technical components simultaneously. This season, it was (again) the unusual, vaguely ’80s shapes, the way he cut his pieces to fall away from the body and yet not hang loose or sack-like, his love for layering that saw the overlays and mash-ups of prints come together in happy discordance, the feminine-but-not-overtly sense of prettiness (dresses not pre-soaked with sex), and a canny understanding that a woman’s wardrobe is not necessarily only spelled out for the roles she plays in her life. A blouson, for example, despite its outdoorsy vibe, can have feminine shape, touch, and flourishes that allow it to be worn to a performance of Bach in a grand national concert hall. Or, in the corridors of business. Without, we should add, sacrificing youthful lilt.

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To be sure, Mr Ghesquière has not always been this successful or sure-footed. We won’t resist the temptation to point out certain silk boxer shorts worn with bejewelled frock coats—a flippant marriage of historicism and Kardashian-esque IG-style show-all. But when he goes beyond the convenience of superficial styling, as he did currently, he is able to place design at the heart of his work. And the designs are what the discerning have come to see, designs that—this season—continue to straddle artsy and sci-fi, sporty and girlish, old-fashioned and newfangled; designs that juxtapose neckline with neckline, sleeves with armholes, long with short.

A little curious to us were the duo or trio (or was it a quartet?) of men’s wear that appeared. In this time of genderless-as-euphemism-for-gender-bending, we weren’t sure if we saw what we saw, or if it was guys’ clothes available for gals or gals’ clothes worn by guys. If Mr Ghesquière is given the men’s collection to do (and we know he can as evidenced by his past output for Balenciaga), what would Virgil Abloh be doing in the studio? Those jackets, with the tweaked peaked lapels, had the strength of creative crafting that Mr Abloh has yet to express. And, if he at Celine can do a co-ed collection, why not Nicolas Ghesquière? We can be hopeful, can’t we?

Photos: (top) Louis Vuitton, live stream/ (runway)

Weather The Winter With Wonderful

Louis Vuitton AW 2018 P1

After last season’s boxer-shorts-as-interesting-piece-of-fashion, it lifts the spirit to see that Nicolas Ghesquière does not need to resort to such cheap styling tricks for Louis Vuitton’s autumn/winter 2018 collection. In fact, it is nice to witness Mr Ghesquière going back to what he does best: design. Pure delight are the details that draw the eyes, stir desires, and, as important, engage the mind. This, to us, is the Nicolas Ghesquière that made us love Balenciaga under his watch. Some memories don’t fade. This time, watching the LV show online was like drinking iced coffee after sucking on a mint drop.

Mr Ghesquière’s best collection for LV yet? We think so. He has dug deep into his love for old military uniforms and sporty shapes (but now paired with elegant other halves), a beguiling sense of contrast, the unexpected mix of garments, and a welcome love for creating panels/pieces and joining them to parts of the bodice normally not considered for application. More exquisitely, he made the clothes totally and acceptably wearable.

Extreme wearability has been the main thrust of many fashion houses in recent years. By this, we don’t mean that unwearability had dominated prior. Rather, wearability that edged closer to the banal and almost nothingness has taken centre stage, and many brands have taken that as cue for their products to be desired, to be successful. Now that that approach has slowly failed to grip, designers are choosing to go meretricious, as evidenced by the chronic loudness among many of the Italians.

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Mr Ghesquière had come rather dangerously close to just-retail-ready when he took over LV from Marc Jacobs in 2013. His debut collection for the house in the following year (as well as those subsequently), while a clear departure from Mr Jacob’s tired over-design and a thrill to many fashion editors, did little to draw LV to us. Perhaps he was adrift with the winds of change at that time, when looking un-designed was aesthetic du jour. It did not have the clutch of the little extras, the sprinkling of quirkiness, and the dash of defiance that characterised his work before LV. It seems to have taken some time (from the start at LV, he wasn’t a young man in a hurry), but Mr Ghesquière has found his place in the house that, until 1998, did not boast a fashion line.

This season, there is so much to love, just as there is much to hold us rapt. For us, it has the definite kick that brings to mind the Balenciaga of autumn/winter 2007, which Mr Ghesquière had described as “a big mix—a street mix.” It was a collection that imbued Balenciaga with all the constituents of cool. A decade down the road, his work for LV has that similar jumble, only now it does not project the insouciance of girls dressed for school, or a date after class; it collates the sleekness and the confidence of the assuredly fashionable of yore with the swagger that has a whiff of today’s street style, one that is less linked to Lafayette Street, NYC, and more to Avenue Montaigne, Paris.

We’re particularly drawn to the shoulder treatment of many of the tops and blouses—those horizontal panels across the collarbone, shaped like a capelet over the shoulders, but appear to us, to be inspired by the shoulder panels of the gaktis tunics of the Sámi men of Lapland. There is, of course, nothing literal about Mr Ghesquière’s take (if it is so) since there is clearly a sportif treatment to his panels, particularly the extra, contrasting diagonal bands in some of the blouses that contrast the natural curve of the armscye, and, in particular, on one top that looked like an extra-long epaulettes rising from mid-upper arms. The graphic elements are not indistinct, and they highlight the skills of the LV pattern-makers, as much as the wealth of technical ideas dreamed up by Mr Ghesquière.

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Sold too we were to the corsets (that could pass off as a waist-shaper from a fitness supply shop), appearing when they are least expected—as base on which the tiered ruffles of a halter-neck top shimmer somewhat incongruously, or the asymmetric overflow of fabric of the garment beneath; the textiles and prints that don’t appear to match (a clash that, conversely captivate rather than confuse; the angles, seams, and drapes that juxtapose happily; and the irrepressible desirability of the collage-like sum effect. Looking at the ensembles, you’re not merely seeing a dress or a blouse: you’re gazing at clothing of hardly ever seen complexity.

Mr Ghesquière has sometimes been called an avant-garde designer. In light of what is happening elsewhere in French fashion, perhaps he is. But avant-garde as we once knew it, pitched to Japanese or Belgian deconstructionism, has left the popular consciousness, so much so that we don’t really see unorthodoxy and experimentation in clothes anymore; we see ‘looks’. But Mr Ghesquière has not really abandoned the spirit of the avant-garde. Rather, he has stayed closed to it, applying his unconventional ideas within identifiable forms and graceful silhouettes that do not attempt to distort the shape of the body. The clothes, for instance, veer not towards the ultra skinny or the outsized, except for the dresses which, we suspect, are made somewhat big and baggy to goose interest among those weaned on the apparent size-disregard of Vetements.

You sense that with these clothes, the wearer belongs to a certain élan, one not kept afloat from the bubble-up effects that have put pressure on much of today’s fashion houses. To be sure, Louis Vuitton has always been a commercial brand. Nicolas Ghesquière makes it less so.

Photos: (top) FF Channel/Youtube, (catwalk)