Louis Vuitton Spring Summer 2013

Louis Vuitton took luxury to another level this season, decked out in escalators, a mirrored wall right behind it to catch the pretty reflections of the models as they descended onto the runway, a checkerboard runway polished to perfection at that, glittering lights, an enormous tent, and gloss everywhere in the Louvre.

Abstract minimalist expressionism was the core idea for the fashion line, telling you that American inventive thoughts from the 1960s was everywhere. American art saw a revolution during this decade – now more than ever it became “cool” to be personal and expressive about the painterly quarters that resided in alleys and neighbourhoods.

Pared-down, real and impressive simplicity in geometry became the best thing to be seen with. It challenged ideas and notions in ways that fine craftsmanship of previous decades just couldn’t dictate, and as a result gave it that different touch.

For the very first time, people began to recognise that you have to bring something new to the table when it comes to art, something that comes from within you and your very own interpretations of everyday objects. Daniel Buren of “Les Deux Plateaux” fame installed those wonderful escalators and crafted out the remarkable set that paid homage to sixties brilliance.

Yellow and white was everywhere for Louis Vuitton, and the dresses came in all sizes: mid-calf, long and short. The models came down the runway in pairs on the escalator, wearing iconic ‘60s hairstyle, beehives, accessorised with Alice hairbands, and pointy patent shoes.

Sartorial freedom expressed with the help of retro fashion, became short shorts, cropped tops, mini-skirts and t-shirts, neat coats, slim dresses, narrow skirts worn with straight buttoned-up jackets and streamlined gowns that had square necklines.

An abstract flower print composed of tiny square sequins in yellow, grey and white chequered the look at times, paving the way to what Louis Vuitton wants – their creations to make fast sells! The handbags were of battenburg designs in monochromatic matte finishes of clutches, and all of the squares did a very good job in replacing the monogram look for the house with square imprints, exclusively. 

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About Osmi Anannya

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