Nicolas Ghesquière closes Paris fashion week with an exciting show, a small masterpiece of Art Nouveau and 80s reminiscences.

A vigorous and exciting show that illuminates the eyes and captivates the hearing under the splendid frame of the Musee du Louvre. This is how Louis Vuitton chooses to round off the schizophrenic days of the fashion month, with a powerful and lysergic collection that brings back to the catwalk the carefree and euphoric atmosphere of late nineteenth-century Paris: a period of dreamy well-being and false illusions before nightmare of the Great War that sees the affirmation of a new bourgeois taste, sinuous and exquisitely decorativist that Nicolas Guesquiere exalts with egregious mastery. Line and ornament dominate the runway, with the volumes of the silhouettes inflated by puffed sleeves, a delightful reference to the abitifin de si&egrave;cle, and the elegant decorative effects of prints and embroidery, refined compositions reminiscent of the colorful glass vases by Louis Tiffany or scary and seductive jewels by Lalique. It is not quotationism but modernity: Guesquiere reworked the decorative tools of Art Nouveau, giving it a new creative energy and contaminating them with 80&#39;s references, such as the VHS-shaped mini bag, a very palatable must-have for next season. The models walk on the catwalk as modern femmes fatales of evasive and alluring sensuality while on the big screen Sophie&#39;s thrilling performance is performed on the notes of &quot;It&#39;s okay to cry&quot;. On the other hand, sometimes fashion can also make people move and so it is appropriate to say: &quot;it&#39;s okay to cry&quot;.

Louis Vuitton's liberty masterpiece

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