Two weeks after a conclave chose a new Pope in the Vatican, on Thursday night in Aviñón, Louis Vuitton organized a fashion -concalave cruise show inside the city's Palais des Papes.
“Female Knights. Arthurian legends,” he smiled at the creative director of Vuitton, Nicolas Ghesquière, in a prior view prior to his heraldry expression of medieval futurism-Meets-Tech.
Ghesquière built a large network of scaffolding to support 450 guests on a high set inside the Grand Coup of Papal Palace, a massive inner courtyard. Pre-show, its characteristic Japanese gongs intervened every 30 seconds, which suggests calm before the storm.
Nicolas opened the action with Chivalric Chic. The dresses of the layer with individual arms were shaped like inverted shields and finished in fair colors. A bright and magnified monogram cocktail in silver and anthracite sequins was crowned by black leather shoulder armor. The Knights of the Space Age marched in flat sole boots made of mosaic mirrors or heraldic motifs.
If Chevalier Bayard were a woman, this is what he would have liked to use. Appearing with wool dresses ending with burning motifs “Game of Thrones”; Sexy Jacquard Cocktails with pocket pockets; or beautiful dresses with foaming chifon. Maid Marion in the uproar.
Many models that wore waxed hair like Calaveras de Shorn layers, Joan of Arc in trial. As the music shot along the climax with “Excalibur” by William Sheller, as the mythical sword that cuts the cold spring night caused by a strong false wind.
In total, a magnificently fresh fashion vision of Ghesquière, using medieval ideas even while subviring and reinvented, in one of his best shows for Vuitton.
The guests sat in wood -worthy wooden chairs finished in a cardinal network while the cast marched along an illuminated catwalk. The models entered the set apparently outside a Gothic tower that parades on a high track before finally posing on a vast flank of 20 rows of empty red cinema seats.
The cast and the audience contained within the strength of the Limestone Palace that once was the center of the papacy. For 67 years, up to 1376, seven potatoes resided in Avignon, after a conflict between the Vatican and France and a dead conclave allowed Philip IV to press the cardinals to accept the Bordeaux Archbishop as Pope Clement V.
It was during this period, that Pope Benoît XII began to build the palace in 1335. A truly weird and magnificent medieval complex with cloisters, cobbled lanes, steep stone stairs, needles and gothic windows scores, the Palais des Papes was officially listed in the World Witch list 30 years ago, a recognition of this program held.
These days, the palace also acts as the nervous center of the D'Avignon Festival, the best celebration of annual French language theater.
The show was the first inside the palace, and marked a change for Ghesquière from the time brands of its previous cruise shows: The Space Age Bob & Dolores Hope Estate in Palm Springs; Oscar Niemeyer's Saucer Flying Mac in Rio; or the Eero Saarinen TWA terminal in New York.
Pre -Show, stars mixed in a separate courtyard, Le Coup de Clôture – Emma Stone, Jaden Smith, Chloe Moretz, Cate Blanchett, Felix Lee, Pharrell Williams, Saose Ronan, Catherine Deneuve and Alicia Vikander.
Drinking champagne the sounds that combined times and genres, as well as Nicolas's fashion. The sound of the 70s, from the classic ballad of Gerry Rafferty, “Down Down the Line” to the electronic disco based in Bologna, “Shadows out of nowhere” of Blue Gas.
After the show, the rate was simple but succulent: the risotto cooked with huge hollow wheels of Parmigiana, washed by Ruinart Champagne.
In the fourteenth century, they called at seven decades when the potatoes resided in Aviñón the captivity of Babylon. Tonight, he felt as if Nicolas Ghesquière had released many ideas and released multiple minds. No one felt captive in this fashion conclave.
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