Nicolas Ghesquière, Current Creative Director @ Louis Vuitton Interviews:
Alessandro Michele being mesmerizing. His work at Gucci gets pinned with this maximalist tag by many commentators, which I’m not entirely convinced is as useful as they imagine as it implies some lack of control.
Still, it’s remarkable how such a diverse collection never feels like its becoming discombobulated.
I also appreciate the use of powerful, atmospheric music rather than tracks with lyrics. I’ve come across many instances where the music distracts from the fashion, sends a conflicting message, or is being asked to do too much work in hopes of making an impression on the audience.
I loved this Louis Vuitton fashion show below, but I think it illustrates my point regarding music selection. It starts off really well with a track from the original 1995 Ghost in the Shell Sountrack Kenji Kawai. It’s big, sweet, shimmering, spiritual, ominous . It fills the air of the enormous Louvre courtyard. The vocals are in Japanese, and sung in a choir fashion, and the models are simultaneously walking a circuit on the runway.
It all sort of fits.
At 3:00 minutes in it switches to Cleopatra by Frank Ocean. Suddenly now there is one voice speaking over much less acoustically resonant music, and supposedly now all of the women circulating are the “Cleopatra” the song speaks of. I find it noticeably more difficult to take in the outfits while this song is playing. A good, charismatic song, but one which inevitably draws attention to the iconic voice and lyrics of Frank Ocean, leaving not enough space for the outfits.
It’s also just a major rupture from what the otherworldly Ghost in the Shell track was establishing. The tracks don’t share a common thread.
Well, anyway, I loved the Vuitton show too, although the Gucci one will be more memorable to me fashion wise.