LOUIS VUITTON SPRING SUMMER 2017 RUNWAY BAG COLLECTION

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Africa, as the home of modern civilisation, is the inspiration for Louis Vuitton’s Spring-Summer 2017 collection. It is also a metaphor - of a return to roots, to heritage, to formative influences, to the blueprint. Asserting your identity.
These themes are explored literally and figuratively. Africa is constantly present, a heartbeat under the collection, combined with the rebellion of London Punk and the emblematic savoir-faire of the Maison. By its very nature, the journey between these different destinations and influences evokes the spirit of travel, which is the very essence - the blueprint - of Louis Vuitton.
Africa is evoked through rich, intricate textile treatments, exotic skins, a menagerie of animal prints. In a continuation of his first Louis Vuitton show about his childhood in Kenya and Bostwana, Kim Jones, Men’s Artistic Director revisits Africa today, expressing notions of the safari and the gentleman traveller. The palette is dominated by Savannah-bleached shades; jackets have Saharienne detailing.
“There’s always something a little London hidden somewhere, though. This time it is the influence of Punk - albeit via Africa, where Frank Marshall’s “Renegades” portrait series of Botswana biker gangs in heavy leather depicts the fusion of two disparate aesthetics. Add a third, the French elegance of Louis Vuitton.“ says Kim Jones.

Punk brings edge, transparent rubber, mohair, zips and straps, all infused with African pattern and finished with the Maison’s unique techniques. Louis Vuitton’s second commission with Jake and Dinos Chapman surrenders four prints depicting twisted animals; their veldt is the Vuitton Monogram. Mohair is knitted to imitate animal markings, and zebra patterns are colored in a petroleum blue. Footwear especially draws on Punk themes, parachute straps forming sandal designs and crepe soles added to laced brogues.
There are unexpected connections between these elements. The utilitarian details of Punk tie the movement to Vuitton’s heritage as a trunk-maker, a practical streak; tartan walks hand-in-hand with Maasai checks; the hand crafts of Africa link to French savoir-faire. Textiles are intricately realised: multi-coloured, paper-thin leather is woven like baskets; while a mesh is hand-wrapped with strips of Monogram in a quartet of colours, four Vuitton patterns creating a fifth, the Karakoram design. Exotic skins are vital - connecting Africa to Paris, while the biker jacket evokes Punk. Zips are added to Punk pants; crocodile and ostrich are used for coats and jackets, as well as key Vuitton accessories. They are polymorphs, crossing boundaries and evoking the trio of inspirational starting-points.
The accessories mark a literal return to roots - the origins of the Monogram itself. Two new iterations, the Monogram Savane Ink and Monogram Savane Dune, are based on the blueprints of the toile, trademarked in 1896. The iconic Louis Vuitton Steamer bag, the first soft travel bag, is reinterpreted as a backpack, whilst heritage styles are drawn from the archives like the Randonnée bag, as well as from the leather goods. Original, yet new: all are updated, reinvented, using textiles from the collection to highlight the synergy between clothes and accessories. A series of trunks underscore the themes of the collection, in animal hides and prints or laser-etched with Chapman imagery, like a preparatory drawing for collection’s prints.
Even the Punk’s archetypal dog collar - here the “Baxter” - is a style originating in the Vuitton archives. Its fresh context transforms its perception. That is a summary of the approach of this collection. Travelling back to the blueprint, the essence, using the old to create something new.
About the Chapman brothers
Dinos was born in London in 1962 and Jake Chapman was born in Cheltenham in 1966. They both graduated from the Royal College of Art in 1990 and worked as assistants to Gilbert and George before collaborating in 1992. The Chapmans weave a vast range of associations into their work, using material from all areas of the cultural landscape including philosophical theory, art history and consumer culture. They engage with inflammatory subjects and use subversive strategies to produce works that defiantly refute straightforward interpretation. Celebrated all over the world, the Chapman Brothers were nominated for the Turner Prize in 2003.



The Petite Malle Bag, Dora Bag, City Steamer, Twist Bag, Lockit Bag, Camera Box Bag, The Palm Springs Backpack and prints like the Reversed Monogram, Jungle Dots or the Monogram Chain Flower – we have seen a lot of pretty things since Nicolas Ghesquiere took over.

And so we do have a high expectation for the Spring Summer 2017 Collection and certainly we are not disappointed at all. Let’s cover some important points here…

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Most probably inspired by the iconic Trunk, just like the Petite Malle Bag. The first time we saw this beauty, we thought it might be a clutch bag. Small, designed with the classic luggage tag and printed with the Monogram in shiny-effect, this looks like a promising investment.

But by looking further, this is actually a Phone Holder. And what’s even more brilliant is that the luggage tag is used to cover your earphones.

The Phone Holders are available in different designs like the vintage Luggage Trunk looks with black edges, golden hardware and monogram canvas. But they’re available in different colors. So ladies, select your FAVO!

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Although its influence today is global, Louis Vuitton remains, above all else, a French house — a fact that we were all reminded of during the label’s Spring/Summer ‘17 show in Paris this week. Held at the future home of the brand’s Place Vendôme flagship, the show looked out onto the storied intersection of that square and Rue Saint-Honoré below, providing the perfect backdrop for what was undoubtedly Nicolas Ghesquière’s most Parisian collection to date. While his Resort ‘17 collection saw him exploring the sporty, seaside culture of Brazil’s Rio de Janeiro, this season saw a more sophisticated, polished lineup from the designer, who focused more on the cuts and tailoring of his pieces rather than exuberant colors and prints (though there were plenty of those too). To wit, there were grey business-like pantsuits featuring slit skirts, cut-outs along the shoulders and open, capelet backs, as well as several tuxedo jackets with smooth, rounded shoulders. In a continuation of Resort’s daring cut-outs, Ghesquière also sliced a number of his looks, revealing an exposed neckline on a sparkly, sheer blouse, or the bare hipbone on one of his slinky, draped dresses. When not doling out glammed-up pieces for the bourgeois, Ghesquière nodded to the droves of fashionable young girls who have recently found their way into his customer base. For them, Ghesquière provided sweatshirts, graphic logo tees, slit leather skirts and skinny lace pants worn under matching mini skirts. In true Parisian style, theses were pieces that didn’t look like they were trying too hard.

Meanwhile, handbags continue to be a strong point for the French house — a tradition that harkens back to its founding in the 1800s.  In homage to those early days, Ghesquière once again called on the label’s iconic Petite Malle, this time reimagining it as a slim phone case that fit neatly into his models’s hands. For those looking for a little more storage space, there were also plenty of other more spacious styles to choose from including the monogram top-handle totes that featured corset-like leather detailing and funky zippered pouches rendered in a checkerboard pattern not unlike the ones that dominated Marc Jacob’s Spring/Summer ‘12 show for the house.

As for the footwear, Ghesquière’s bright, multi-color alligator and python skin boots proved utterly desirable (they’re high vamps and pointy toes made them both classic and sporty), as did the heeled pumps with their black bondage-style lacing. Like the rest of Ghesquière’s collection, they were the perfect balance of classic and modern intrigue.

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Instantly in love when we spotted this fresh shoulder bag. We love the details – so complex yet heavenly! The bag is crafted with a checkered design, the handles are gorgeous and the center is made stunningly with the Classic LV lock. Wow, so what is your wish next year?

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We love simplicity and this fits perfectly in that category. You see, this bag is fabulous for numerous of reasons. Some ladies don’t like Monogram Canvas and other busy prints, some like simple design yet timeless.

Simple, but the leather looks smooth and nice. It features long handles and zipper on the front side. Perhaps there is a front pocket or it can be used to expand the bag. But for those that like the Neverfull, but want a minimalistic bag, here it is.

Oh yes, the luggage tags are the finishing touch.

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Introducing the Louis Vuitton Spring/Summer 2017 Runway Bag Collection. Nicolas Ghesquière presented his edgy and sexy collection at the Place Vendôme, instead of the usual Fondation Louis Vuitton during the final day of Paris Fashion Week. The most coveted accessory in the runway was the iPhone case version of the popular Petite Malle bag. The phone cover includes a key ring and was presented in different materials like Monogram Canvas, Monogram Reverse and Crocodile leather. Louis Vuitton introduces a new color for the Damier pattern, which now comes in all Black and Tan. A variety of bags were seen in the runway with rope like handles. The top handle and flap bags with a lock closure has a striking resemblance to the Luna Bag. Tote bags in different shapes, as well as rectangular clutch bags were also featured in the collection.


Today’s Louis Vuitton show took place in the future home of the brand’s Place Vendôme flagship. Scheduled to open in 2017, the new store will combine two buildings, spanning the famous square and the Rue Saint-Honoré. Sitting on the boutique-to-be’s second floor this morning with those monumental views out the windows, there was no escaping the metaphor: As global as its reach is, Louis Vuitton is Paris.

So it was fitting that creative directorNicolas Ghesquière brought his collection home metaphorically, as well. His Cruise offering, presented in Rio de Janeiro last May, was a tribute to that city’s sportif seaside culture—colorful, loaded with print, and beachily body-baring. The orientation of his bold new Louis Vuitton collection is different. While it retained some of the tropes of the previous season—the daring cut-outs in particular—the results were more glam. Call it hot bourgeois. “I realize that I didn’t explore that much yet the sophistication and the more dressed-up part of Louis Vuitton,” he said afterward.

The sophistication he was speaking of comes down to the type of clothing he zeroed in on: tailoring, first and foremost. Ghesquière’s are not suits for office drones; with slices removed from the shoulders and capeleted open backs, they negotiated the territory between practicality and experimentation. As he settles in at Louis Vuitton (today’s venue seemed conceived at least in part to quash the ongoing rumors that he’s on his way out the door), Ghesquière is leaning more toward experimentation, if not the outright high-concept fashion of his earlier days. See the asymmetric draped jersey numbers with the hip and midriff cut-outs, some with 1980s-ish sprinkles of crystals and glitter; see also the series of long, sheer-yet-discreet dresses at the end.


Tag: Louis Vuitton

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