Louis Vuitton goes geometric for S/S 2013
The big question on everyone’s lips this season was: how will Louis Vuitton top last season’s olde-worlde train set (for A/W 2012)? And it seems the French fashion house did it by sending models down one of four huge escalators …
The big question on everyone’s lips this season was: how will Louis Vuitton top last season’s olde-worlde train set (for A/W 2012)? And it seems the French fashion house did it by sending models down one of four huge escalators on to an almost Alice in Wonderland like set, focusing massively on the ideas of mathematical symmetry, from the twin-like appearance of the models themselves to the floor squares to the geometric precision with which the clothes were printed.
There’s something that thrills and delights me about this collection, while simultaneously filling me with fear. On the former point, I will say that I feel, at the very least, as if this is something new. Marc Jacobs, in his designs for Vuitton, has stuck to a tradition rooted carefully in the prim, proper femininity of the 1960s skirt suit and here, the shapes take on a new aesthetic when layered with his distinctly modern, almost harsh, prints.
The colour palette, too, is a joy to behold; while some catwalk shows grow jaded after the fourth look, leaving you in no doubt of what is to come (mainly: more of the same), Jacobs went slightly off-grid (if you’ll excuse the pun) with his palette, moving from lemon yellow to caramel to bright, shamrock green in seconds. Each step seemed bright, new and exciting.
Then, the fear: I don’t like geometric prints. They don’t suit me, and I’m not a huge fan – I like my prints softer, like watercolours as opposed to oil paints. And these are most definitely neither soft nor subtle. Will the high street be choc full of bad copies, come February? Let’s hope not . . .
In the meantime, have a look at the rest of the collection – and let me know what you think!