Belle Époque–era Paris – “‘It’s a part of French history that’s very interesting in art, as well as culturally, in terms of emancipation of women, and, of course, in literature with Proust,’ he explained. It’s also a period that more or less coincided with the birth and rise of the house of Louis Vuitton. In the late 1800s, advances in construction and technology ushered in a new era of travel for the elite, to whom Monsieur Vuitton and his descendants catered with their monogram trunks.” Puffed sleeves, mismatched colors, everything modern and nothing new at the same time. Resonating “plus ça change, plus c’est la même chose


“Italian ingenuity in times of scarce resources.” The playfulness of structure with individualized add-ons. The appeal of creativity stemming from within all we have, and all we don’t have.


Virginie Viard’s first RTW show on her own highlighted the quintessential Chanel wardrobe. Wavering between the new cinema of 50/60s. The tiered layers, evoking the French Riviera on the sunset on the rooftop.
// Would be a miss not to mention Marie Benoliel’s prank when she went up on the catwalk during the finale. Not quite sure how I feel about it, given that a show is not just representing the creative director but all those in the atelier that worked long hours to showcase their work for that to not to be the highlight. But then again, maybe it plays well with the artfulness and lightheartedness of fashion shows that we need sometimes.


Floral imagery everywhere – structured dresses lined with accentuated details – all evoking the sense of beautiful flours.


Bookend with map imagery – Abe brings together the sense of contemporary longing and of loose fabrics and sentimentalism.

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