THOMAS ADAMSON
AP Fashion Writer
PARIS (AP) — Louis Vuitton’s show caused traffic chaos early Wednesday with photographers clambering to get the must-have shot of guests Jennifer Connelly, Selena Gomez, Sofia Coppola and Michelle Williams.
Designer Nicolas Ghesquiere’s only second ready-to-wear collection since Marc Jacobs’ departure last year, was an ode to the ’60s. It moved the storied house in a younger direction.
But the sparkling celebrities and clothes were, alas, victim to the biggest fashion upstaging of the season. The culprit: one a gargantuan prima donna that will outlive them all — the brand-new, hundred-million dollar Louis Vuitton Foundation art museum and cultural center.
Here are the highlights and show reports of the final day of spring-summer 2015 shows, including Miu Miu, Carine Roitfeld’s party with Kim Kardashian and Justin Bieber, and designer Christophe Lemaire’s final show for Hermes.
LOUIS VUITTON FOUNDATION UNVEILED FOR 1ST TIME
Glistening in the morning sun in west Paris — with billowing glass casing and white concrete panels — the near-12,000 square meter building designed by Frank Gehry had guests stopping in their tracks, mouths open.
“It’s incredible, it really is,” said one guest, Long Nguyen, who stopped to take a photo.
At a cost of well over 100 million euros ($126 million) the edifice, which has been compared to an iceberg or giant sailboat took over a decade to make. It will have 11 gallery spaces of different sizes and opens officially at the end of October.
The man behind it is billionaire Bernard Arnault, France’s richest man and head of the world’s biggest luxury group, Louis Vuitton parent company, LVMH.
Arnault commissioned it to house his vast contemporary art collection. The building, decorated with “L’s” and “V’s,” has been branded a tycoon’s “vanity project” by the media.
Regardless, it’s one of the most exciting, avant-garde Parisian architectural projects in years.
LOUIS VUITTON’S NEW CHAPTER IS YOUNG AND FUN
The collection opened with great classic ’60s white lace, high neck mini dresses — with a sporty feel — and looks that had black ribbons round the neck.
The Swinging Sixties-musing continued elsewhere in some nice velvet looks and a pair of enviable russet cropped pants.
There was also a nod to this on-trend Balkan, ethnic look in zigzag detailing, Grecian embroidery and thick lacing down the torso — that has been on high rotation this season. Those were the hits.
The several misses included looks with sometimes-clashing colors and textures — such as a garish, shiny eel skin mini dress in thick orange and black stripes.
What’s apparent is that Ghesquiere’s vibe is much younger and much more “fun” than that of Jacobs.
The question is: will this please Vuitton’s older (and more monied) clientele?
STYLIST CARINE ROITFELD WEARS SHADES AFTER LATE NIGHT
Former editor-in-chief of Vogue Paris, Carine Roitfeld was seen wearing big, dark shades at the Vuitton early morning show.
Late the night before, the stylist with the gold contacts book had been partying at the launch of her latest project, “CR Fashion Book 5.”
It was the most glamorous night of the Paris season with a surprise DJ set by Paris Hilton.
The guest list was a roll call of stars.
Kim Kardashian, in a revealing black tuxedo, posed with a coiffed Justin Bieber.
While upcoming model, and Kardashian sibling, Kendall Jenner sipped drinks with her mom, Kris Jenner, near Karl Lagerfeld and Baz Luhrmann.
It’s not known if Kris spoke to Lagerfeld about the fact she was seated on the back row of Tuesday’s Chanel show.
HERMES DESIGNER’S SWAN SONG
It was an emotional farewell for Christophe Lemaire — the man at the creative helm of jet-set powerhouse Hermes since 2010, who has successfully pushed the brand in the direction of pared-back elegance.
The French-born designer played it safe for his swan song, in a collection that played with wrapping.
A gentle, sleeved long classical gown in off-white opened the show which softly moved into an enviable scarf-wrap silhouette.
A voluminous jersey in mustard yellow possessed a graceful kinetic upward sweep as the fabric swirled around the neck and hung down.
The loose, printed and patterned dresses didn’t quite hit the same mark.
But Lemaire finished his cadence at one of the world’s most iconic houses on a harmonious cadence.
MIU MIU’S MAGIC COLOR SUBSTITUTION
Miuccia Prada’s show for Prada’s little sister brand, Miu Miu, was all about playful — and colorful — substitution.
The formula for the first looks: unfitted coat, ruffled silk blouse, knee length skirt. The colors rotated.
The skirt was beige, the coat white; you blinked — and like a magic trick, the skirt became white, the coat beige. The same for the red and black shirts.
Mistress of subtle details, Madama Prada was winking at guests throughout the whole show.
In the silhouette, midriffs were often exposed, with plunging necklines and cool tulle boob tubes.
Blown up colorful tartan worked a treat, especially near the ’50s-tinged finale with white circular lapel coats.
A lovely collection.
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Thomas Adamson can be followed at http://Twitter.com/ThomasAdamsonAP
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