Sandra‘s Closet

Louis Vuitton’s men’s ad campaign for F/W 2020 was shot by my favorite photographer on earth, Tim Walker. I adore his surrealistic approach to photography, transforming every photo in a piece of art. Below you can read about the inspiration behind the campaign and the collection imagined by the Maison’s Men’s Artistic Director Virgil Abloh.

Black Imagination: The transformative process of rethinking and overturning the inherited and often unconscious expectations tied to Black identities through history, and creating an encouraging Black consciousness for the present and the future.

The utopian idea of «Heaven on Earth» creates the framework for the Louis Vuitton F/W 2020 Men’s campaign. Photographed by Tim Walker, the images widen the collection’s surrealist lens through the metaphorical language of clouds. Applying his ongoing premise of Boyhood – seeing the world through the unspoiled eyes of a child, Virgil Abloh employs clouds as a symbol of freedom, unity and peace. Evading constraint, territory and possession, they are dreamlike bodies floating across a sky observed universally across borders and beliefs.

The title of the F/W 2020 collection, «Heaven on Earth» is an image of the core values embodied by Virgil Abloh at Louis Vuitton: a dream world that transcends prejudice as an objective to inspire inclusivity and unity-in-diversity through his work. It is underpinned by the overarching philosophy of Black Imagination and the continual imbuement of Black representation
within fashion, luxury and beyond. Shot in London, the campaign lends its platform to young creative talent from across the arts, featuring the likes of British actor Michael Ward and Ghanaian model Ottawa Kwami as part of its cast.

The collection studies the anthropology of the suit and the reprogramming of traditional dress codes. Virgil Abloh investigates the lifelong relationship formed by adolescent and young men with shirting and suiting in a material and figurative exercise in freedom, presented within the familiar constrictions of tailoring. The firm symbol of convention, trade and success, the tapered silhouette departs its corporate comfort zone. Twisted and turned, the dress codes of an old world are neutralised, re-appropriated and embraced for a progressive joie de vivre.

Isn’t it so impressive to explore how much work, inspiration and thought went into one picture.

LoL, Sandra

Photos: © Louis Vuitton
DISCLOSURE: This post is NOT sponsored. I just adore the photos.

Without doubt, one of my absolute favourite collections for F/W 2013 is DIOR. Raf Simons takes the French Maison to new heights with this literally speaking very artistic collection. It is the story of affinities between the founder, Monsieur Christian Dior, and the designer himself.

I have fallen in love with the new looks already on the runway and during my re-see in the showroom during Paris Fashion Week, I have been completely taken by all the beautiful details that I will share with you today.

This season, Raf Simons focuses on this notion of memory and how it shapes the nature of design at the house; how this works for himself and how it once worked for Christian Dior.

“This collection is more connected to passions we share,” says Raf Simons. “Like a real interest in art – Christian Dior started his career as a gallerist and represented both Dali and Giacometti early on. The connection to certain periods of time is also significant, his obsession with the Belle Époque in his case, the Mid-Century modern in mine. Here the connections made are important, the very idea of them rather than what they are made to; the attraction and obsession is the significant part.”

The collection functions in the form of a visual scrapbook, a collage of clothing containing significant moments in time both for Raf Simons and the house of Christian Dior. A Dior coat can function easily alongside a further exploration of the Bar jacket in wool denim, itself teamed with a new take on Oxford bags.

Dior’s iconic houndstooth motif is explored and transposed, emerging frequently as a wool bustier. A notion of asymmetry, begun in the haute couture collection, can be seen throughout, resulting in a abundance of permutations in the silhouettes that can go from short to long in one look. The collection is full of unexpected juxtapositions and visual non sequitur; a free association, like a personal scrapbook, both playful and profound, it embraces idiosyncrasy, culminating in what Simons refers to as “memory dresses.”

Here, a typical twenties shift shape (Think of the The Great Gatsby‘s influence!) is embroidered and appliqued with motifs that point to parts of the personal history of Dior; a Surrealist style free association culminates in these clothes and is up for open interpretation. They also display the new graphic sensibility that is introduced in this collection and permeates throughout. This is most significantly displayed in the unique collaboration with The Andy Warhol Foundation for the Visual Arts in the collection.

The early hand drawn work from the 1950s of the artist Andy Warhol is found as a recurring motif of the mid-century style printed or embroidered on the clothing and accessories.

“For me Warhol made so much sense,” says Simons of this collaboration. “I was interested in the delicacy and sensitivity in the early work he did, I was drawn to that graphic style naturally in this collection. It was that notion of hand work and personal signature that fitted throughout.”

These notions of Surrealism and Pop are brought together in the dreamscape of the show set. As a Magritte-style cloud path meanders around the gigantic mirrored spheres of the space, the mix of memory and desire in the collection is brought to dream-like culmination.

Below, you can enjoy some of the accessories that are to die for. The embroidered boots are definitely on my must-have shopping list.

Dior’s amazing F/W 2013 collection will hit the stores aproximately end of August, beginning of September 2013. If I have whetted your appetite for some serious shopping, you should have a look at the house’s extremely beautiful Pre-fall 2013 collection which has started to arrive.

A collection which shows the new juxtapositions in perfection: a billowing very couture-like skirt that is tied at the waist and reaching to the floor in back is paired with a cashmere-silk knit tee (see collage below to the right) or a sort of wool fabric belt that elevates the look to a new level of style. I imagine Raf’s casual glamour will become his signature. One thing is for sure, we will see more and more Dior on the streets and the house jacket will be identifiable everywhere. Personally speaking, I am madly in love! My collection for the upcoming season!

LoL, Sandra

Runway photos: Courtesy of Dior, Showroom pictures: © Sandra Bauknecht

Yesterday, the ‘Schiaparelli & Prada: Impossible Conversations’ exhibition has been unveiled during a dedicated press conference at the Costume Institute’s The Metropolitan Museum of Art in New York.
The exhibition will be open to the public from May 10 to August 19, 2012.

The Met’s Spring 2012 Costume Institute exhibition explores the striking affinities between Elsa Schiaparelli and Miuccia Prada, two Italian designers from different eras. Inspired by Miguel Covarrubias’s “Impossible Interviews” for Vanity Fair in the 1930s, the exhibition features orchestrated conversations between these iconic women to suggest new readings of their most innovative work.

Iconic ensembles are presented with videos of simulated conversations between Schiaparelli and Prada directed by Baz Luhrmann, focusing on how both women explore similar themes in their work through very different approaches.

The exhibition showcases approximately ninety designs and thirty accessories by Schiaparelli (1890–1973) from the late 1920s to the early 1950s and by Prada from the late 1980s to the present. Drawn from The Costume Institute’s collection and the Prada Archive, as well as other institutions and private collections, signature objects by both designers are arranged in seven themed galleries: “Waist Up/Waist Down,” “Ugly Chic,” “Hard Chic,” “Naïf Chic,” “The Classical Body,” “The Exotic Body,” and “The Surreal Body.”

Schiaparelli, who worked in Paris from the 1920s until her house closed in 1954, was closely associated with the Surrealist movement and created such iconic pieces as the “Tear” dress, the “Shoe” hat, and the “Bug” necklace. Prada, who holds a degree in political science, took over her family’s Milan-based business in 1978, and focuses on fashion that reflects the eclectic nature of Postmodernism.

LoL, Sandra

Photos: Courtesy of the The Metropolitan Museum of Art and Prada