Miuccia Prada’s little sister line Miu Miu is always ladylike and a little twisted—there’s always more to the Miu Miu girl than a stiletto with a bow on it (though those were cute, too). This season’s muse was John Waters’ Divine in Female Trouble (the theme for the film, along with Beethoven’s “Monlight Sonata” provided the soundtrack for the show). The vintage upholstery-like fabrics we saw at Prada (thick brocade, blown out plaids, brown suede) made their way to the Miu Miu runways on pencil skirts and prim day coats. Top it off with a cropped ruffle-front blouse and this Miu Miu girl is subversively sexy.
What a gorgeous final collection from Christophe Lemaire at Hermès. Everything about this spring collection—from the sand-covered floor of the show space in the Jardin du Luxembourg (a nod to Hermès’ equestrian heritage), to the billowing orange curtains the models entered from, to the relaxed, elegant silhouettes, to the supple leathers, to the restrained soft palette—whispered (never a scream!) luxury. Lemaire will be missed as he’s created gorgeous collections for Hermes, but we’ll have his namesake line to watch, and eagerly await the arrival of former The Row designer Nadège Vanhee-Cybulski.
For the first time, Louis Vuitton showed its ready-to-wear collection at the maison’s new Fondation Louis Vuitton in the Bois de Boulogne—an incredible architectural marvel designed by starchitect Frank Gehry. (It opens to the public on October 27.) Guests arrived slack-jawed, snapping photos of every angle of the billowed-out, metal, sail-like walls, taking the instabait, because how could you not? So would Nicolas Ghesquière’s second major collection for Vuitton hold a candle to the awe-inspiring surroundings? Well, of course. He set the tone with some classic sci-fi (a subject that inspired many of his collections for Balenciaga): On screens throughout the dark show space, the Ghesquière adaptation of Princess Irulan’s intro to David Lynch’s Dune played out. Only Ghesquière girls (bare-faced models with un-done hair) replaced Virginia Madsen’s Princess Irulan, and the speech was slightly tweaked: “Oh, yes, I forgot to tell you. Today, October 1, the LV house wants to explore the ability to travel to any part of the universe without moving.
The journey starts here.” The journey for spring 2015, it turns out, is not so out-of-this world, but rather a continuation on the ’60s French-girl bourgeois dress codes he established for his fall debut: stiff leather A-line mini skirts, sporty zip-front dresses, sharp-collared cropped leather jackets, and printed knits. For this collection, crocheted knits, a looser baby-doll dress silhouette, shiny leather skirts, and cropped, velvet, slightly flared pants were added to the mix, as were more lighthearted prints (dense florals, whimsical prints of nail polish and eyelash curlers). Velvet still makes me think of my bat mitzvah in 1994, but if anyone can make velvet cool, it’s Ghesquière.