The Louvre has six inner courts and La Cour Lefuel is the only open-air courtyard that has never been open to the public. Even if you come to the Louvre, it is difficult to see what it is. It is often covered by scaffolding or covered by prefabricated houses that have been built up in other parts. This garden is so isolated and spectacular that the horses of Napoleon III stepped on these two giant ramps and returned to the stables. At the end of the ramp were four giant bronze sculptures: a dog, a wild boar, and two wolves. We would also like to thank LVMH for giving us a brief opportunity to understand and experience this inner court (but it is actually being refurbished for public use). It is Louis Vuitton's another Louvre venue for the show.
However, if such a rich French history was sealed for many years, then the season series shown here is not to match its grandeur. Many evangelists sat in the front row and ended up with an O in the end. Nicolas Ghesquière's powerful spring-summer collection combines past, present and future with a unique combination of imagination. Perhaps the upper Bourgeois scene he showed on Tuesday is more suitable for La Cour Lefuel.
Of course, he also made distortions, asymmetry, and increased profile. After all, it was Nicolas Ghesquière. Opening the first set of styling, the black suit embellished with the details of the legendary jeweler Judy Blame's chain looks pretty good. But these details appear again and again, but do a lot of suits or button pencil skirts these relatively boring. Another recurring detail is a small round-shoulder cloak, in which the historic details are also confused by modern modernity that Ghesquière likes. Looks curious with fidgeting.
This is probably the key. After all, this is one of the characteristics of the upper Bourgeois, and their restless tension is more likely to release some fragrance in the direction of the undercurrent of their physical attraction—if the time is right. There are a lot of buttons waiting to be unlocked this season. I think of Yves Saint Laurent, who has absolute instincts for the forces of restraint and release. Luis Buñuel, who also had this tendency, eventually polished Catherine Deneuve from The Day of the Day to a classic long-lasting sexual repression. Instead of seeing, Denave himself sits in the front row and sits next to Jean Paul Gaultier, who has been producing dry wood with bourgeois sexual fanaticism over the years.
But the series is actually still Buñuel's "bourgeois cautious charm." This season with this series of charm is too much, so Ghesquière at the final press conference this season is also very timely. Come to a conclusion, in a bow. Wait for a word instead of a bow. Only suits, pleated skirts, black leather of Bourgeois, and corsets containing all the illusions. Safe and boring was disappointing.
The inner court set up a plastic tent specifically for the conference, but the sudden heavy downpour seemed to exceed the capacity, and some viewers were showered. The reporters rushed back to London on the last train and replaced the wet clothes at the Paris North Station. Where was Louis Bunuuel this time? We need him.
Translation: Aijing Wang
