He also played with androgynous tailoring, often in oversized shapes. This was the most charming grouping in the show, evoking how a teenage girl might co-opt her boyfriend’s clothes. By applying and embroidering Sims’ images onto floral jacquard polos, some of that edgy spirit seeped in here.Ĭhanneling the sense of youthful experimentation he remembers, Ghesquière topped evening dresses with sporty rugby shirts or chunky sweaters wrapped around waists. The photographer came of age in the 1990s-like Ghesquière himself-and shook up the status quo the generation before him established by shooting his peers and other young people with a vérité grit that eventually became the look of that period.
The impermanence and beautiful volatility of adolescence.” He conjured that state of being most straightforwardly with a trove of photographs by David Sims. In prepared notes, Ghesquière called the collection “an excursion into a perceptible, fleeting, and decisive moment when everything comes to the fore, in all its innocence and insight.
This show wasn’t hooked to a particular era as much as it was to a time frame: Young adulthood. He’s made a practice of mashing up references and collapsing centuries in the process, most famously when he combined Louis XVI frock coats with running shorts and sneakers on a sub-floor of the Louvre that was once a medieval moat. Time has been a subtext for Nicolas Ghesquière since the beginning of his tenure at Louis Vuitton. The world keeps spinning, as the Musée d’Orsay’s famous clock reminded us at Louis Vuitton today (it was the first runway show ever at the museum), and kids are making the culture. They go especially crazy for TikTokers, who older people in the audience wouldn’t recognize even if they sat in their laps. All week long in Paris, there have been crowds of hundreds of kids outside the shows, screaming at the top of their lungs for celebrities.
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