As far as huge, global luxury brand events go, Monsieur Ghesquière made his Vuitton debut as intimate and as personal as possible.
The invitations were all handwritten, and sent out in leather envelopes (quietly deluxe, sure). On each seat, a letter from him, thanking us for being there on this ‘big day.’
The set was a palate cleanser to Marc Jacobs’ moody, dark finale. Instead of the huge black tent, a steel structure. Inside everything was a soft cream, seats laid out in an intimate maze, we could have touched the models as they swang past us, and the clothes we could see in the closest detail.
This was a return to a more traditional sort of salon show, where the collection is able to speak for itself, without all the bells and whistles distracting you. The show started with the steel shutters magically opening, bathing us in the perfect warm sunlight and giving the show its seductive cour du Louvre backdrop. So French, so Parisian, so Vuitton.
And so what of Ghesquière’s LV? Beautiful. Opened by the now rare catwalker Freja Beha Erichsen, it was little 60s minis, little 70s blue/brown/cream hues, belted leather trenches and gold necklaces layered over polo necks. There was a touch of the equestrian in his ankle length riding boots, a spot of modern sports with his use of satisfyingly noticeable zips, plus classic Ghesquière ingenuity; a burgundy patent leather clutch is lined with the traditional LV monogrammed canvas, a long chain handled box bag is covered in leather left gently peeling open.
Set to a fierce Kelis/Beyoncé mix, it was a cool, solid start for Ghesquière, feeling resolutely Vuitton and crucially leaving us wanting more. And as we settle into our Eurostar seats, we’re still thinking about that divine two-tone blue square bag.
See ALL the photos from the Louis Vuitton AW14 Paris Fashion Week show…