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Text Carlo Mazzoni

 

If fashion tells about the passing of time, Ghesquière resumes the world surrounding us: his vision is consistent, each external or artistic infiltration falls into his viewpoint. Through his eyes, universe appears as designed on diagonal matrixes: these diagonals are found everywhere, in continents and in centuries, in contrasts and in melodies, in competitions and in contradictions.

The diagonals go down from the neck along the back, they get back from the hips to define the muscles of love. Ghesquière has the ability to draw together: the rhythm of house music is the sound of the rain in the pine grove which does not fall as an Indian shaman stops it, but it beats down from a d’Annunzio poem. A model appears with a tribal sign on her forehead – she’s a Targaryen virgin for Lady Stark seating in the public – upfront there are Mark Ronson and Isabelle Huppert. Red and violet shiny leather inserts, over a beige light cotton cloth – enamelled fire red over pink little grass Provençal flowers, transplanted in the Easter Island. Embroidered night-gowns as a plaudit to Chiuri’s  Dior, metal scales and feathers as a concession to Gucci. Turandot’s melancholy, the empire of sky. The pieces runs the catwalk in a labyrinth designed by Jean Mirò: Renaissance style sleeves cascade from the jackets cuffs, anoraks are drawn from a biker’s closet loved by Slimane in Los Angeles. Aliens boots, underwater masks. Embroideries recall grey, black and red-copper sequins chessboards. Over-size jackets in memory of Balenciaga – both of its founder, of his personal experience, and of the current situation.

Culture really is the summary of a complicated conversation. In the Fifties, the brothers François and Bernard Baschet carried out acoustic experimentations on metal and glass structures: diapason on different frequencies, installed as percussions and strings. Musical instruments found and restored by Woodkid, a thirty-four years old artist, the lineage that counts today: author, director, graphic designer, composer. Woodkid has assembled an alternative-rock band in an outdoor chamber music setting, working on the soundtrack for Ghesquière’s fashion show, setting the rhythm for Jennifer Connolly who reads some extracts of Grace Coddington’s biography (her stylised cats appeared and disappeared in bags and on invitations).

Louis Vuitton cruise collection for 2019 was presented at Fondation Maeght, a building designed by Josep Lluís Sert under cluster pines, hidden amidst the Provençal hills around Saint Paule de Vence, overlooking Nice. Aimè Maeght was a gallery owner and a collector in Paris in the last century –  we were talking about a labyrinth created by Mirò between the building and the park; there’s Chagall wall mosaic, Braque cement and glass swimming pool, Bury fountain. The yard is a work by Giacometti, the statues are arranged like theatre walk-ons, and a bench on the roof, designed in half-circles and flat lines. Under the bench overlooking the mid-air, the Italian writing: «Per quelli che volano» (For those who fly).

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