I hope you are keeping well
Two days ago the white gravel hill path that winds around Joan Miró’s sculptures in the grounds of the Fondation Maeght, near Antibes in the south of France, was the catwalk for Louis Vuitton’s cruise fashion show.
The collection were extraordinarily beautiful. (The shoes were just extraordinary.) This was Ghesquière who, last week, renewed his contract at Louis Vuitton after five years, doing the intensely chic futurism that he does best.
After a ready-to-wear collection in Paris fashion week 10 weeks ago notable for being within the guardrails of bourgeois – Madame Macron-friendly, some noted – this cruise collection saw a return to Ghesquière’s signature look. The iconoclastic modernism linked these clothes to the art around them. Proportions snagged the eye in the same way as the Miró and Giacometti pieces that dotted the lawns: the inverted-triangle proportion of a broad-shouldered jacket, the angles of a dress snipped at one ribcage.
Modernism was always his point of view, said Ghesquière after the show. Of the sculptural silhouettes
The 1964 opening-night party remains the stuff of art-world legend: Ella Fitzgerald sang jazz and Alberto Giacometti, who designed benches and door handles for the building and huge pieces in the courtyard, looked on while smoking a pipe.
Fifty-four years later, Louis Vuitton’s party for 600 guests brought some of that glamour back. As well as actors Emma Stone, Léa Seydoux, Ruth Negga and Sienna Miller for the front row, the house flew in a shaman, hired for an undisclosed fee, to keep the rain away.
Bruised-blue skies held off for the duration, with torrential rain beginning half an hour later as models, now changed into jeans but still bearing the fire symbols painted on to their brows by makeup artist Pat McGrath (“to symbolise a community of women”) danced under the trees.
Here are my favourite pieces from this year’s collection: