MFF 115 - Nicolas Ghesquière: «My idea of french style for Louis Vuitton»

«When you mention France around the world, people mention astronomy, cuisine, cinematography, french tech house music. And Louis Vuitton as well. To be part of this history is sometimes impressive. It can be scary. However, I can count on fantastic people», Nicolas Ghesquière, artistic director of womenswear at Louis Vuitton, flagship brand of Lvmh and universal flag of a certain «je ne sais quoi», said. As well as of all parisian women’s chic, the heart of the designer’s latest work, which comes to life in the ballroom of the Musée d’Orsay, set up with scenography by James Chinlund and Philippe Parreno, like a street in the capital, punctuated by a soundscape of noises from the city. Traffic, footsteps, and french style. This is what Nicolas Ghesquière seeks but also what he has defined in his ten fall-winter seasons since his catwalk debut in march 2014 at the helm of Louis Vuitton’s new womenswear. «The names I admire the most have made clothes that can stand the test of time», Nicolas Ghesquière himself told MFF – Magazine For Fashion. «I am not saying that I am part of those names now, but I am old enough to see that some of the clothes I made in years past still exist», he joked and smiled behind those sky-colored eyes. Always drawn by the meet-and-greet of historical times, the designer now looks to the past to imagine tomorrow, revisiting his love of fashion, the constant challenge of doing the right thing at the right time, his beginnings as a designer, and then the responsibility of an artistic direction. That «cool thing» of predicting the time, and the family spirit at Louis Vuitton, first under the former president and ceo Michael Burke and Delphine Arnault to the new one, Pietro Beccari, whom he welcomed himself at the maison. It must be hard to be Nicolas Ghesquière. «I have very high expectations. It is difficult when you have to tell others that something is not exactly right. However, I am lucky because this does not happen often at Louis Vuitton», he explained in this interview.

Let’s talk about french style. Your last collection was a journey through the concept of french style. Where did it start and why?

We started working early on this collection. We went to Asia and America, and it is true that this question of what french style is comes back again and again. The idea that people have of french style is interesting, so we started to think about it. My design studio is very international. There are many Italians, for example, so I had the idea to ask them what they thought of french style. French style is not really french, but rather a blend of many cultures, it has many layers that were deposited through time by the people who came to France. I compared everyone’s ideas: some talked about the emotions they feel when they are not only in Paris but somewhere in France, others talked about the art they find in Paris, while others mentioned a necklace they saw one day on a woman on the street.

What was the result?

It was very personal. We decided to put all these emotions together, to see what interpretation the audience would give as well. I also have my own idea of french style. In fact, people love the sophisticated value of it, but also its idea of negligence. For most people, it is an effortless but sophisticated style. And that is what best describes what is going on here in Paris most of the time. Therefore, it was very interesting to share ideas with people of different generations and backgrounds to see how they put together images and notes on their concept of french style.

And then there is music, there is jewelry representing some musical instruments.

Yes, this jewelry refers to brass bands, city parades, events. While I was working on the collection, Anne Démians, the first woman architect of the Académie des Beaux-Arts asked me to make the suit for her installation ceremony. I had to work on a suit in a classical, academic style. There are usually swords on it because it is a garment that comes from the military world, but because she is an architect, she wanted to replace the sword with a carbon steel pencil. There is an entire section within the collection made of fabrics that look like carbon steel to pay homage to the mix that this woman inspired me with.

Your collections never lack a futuristic touch, as if you never look back but always forward.

Yes, I would rather say there is a meeting-clash of historical times. There is the future and there is the present, united in the link between what can be a better future and a better present, but, this time, in a way I also explored the past much more than usual. I looked at riding coats of the XVIII century, for example. Then, as we are all more committed to sustainability today, it is interesting to look at the past to try to create clothes for the future that hopefully people will keep, or pass down to the next generation, or resell. Good clothes that can stay.

You have been Louis Vuitton’s womenswear creative director for 10 years. How do you feel after all this time?

These ten years have really flown by. When I arrived, I remember that the idea was to look at classic wardrobe pieces and give them a new life. I think that over time we really succeeded in developing the Louis Vuitton’s woman. It is an all-too-recent story that we are still building, and I am thrilled to be part of this history that looks to the future. Therefore, my spirit is still that of the beginning, but times have certainly changed, so many things have changed in ten years.

What has changed?

Digital communication has changed so many things. Everything goes much faster, and what you do is seen and quickly shared by people. In addition, there are issues related to the sustainability and the responsibility we have to make luxury real. We are forgetting what fashion really is. I love fashion and making fashion is about doing that right thing at that right time. However, today, the responsibility to make long-lasting clothing is increasingly important. The names I admire in fashion, those who have left an important legacy and contributed greatly to the development of the industry, have usually made clothes that can stand the test of time. This is my desire. I am not saying that I am part of those names now, but I am old enough to see that some of the clothes I made in years past still exist.

Were you ever afraid of starting this adventure with Louis Vuitton? Not even at the beginning?

This is a great maison with an extraordinary history related to the idea of travel. Vuitton is a synonym of a well-known lifestyle. It often happens that when you mention France around the world, people mention astronomy, cuisine, cinematography, French tech house music, and then also Louis Vuitton. To be part of this history is sometimes impressive. It can be scary, I must say that. However, I am lucky because I can count on a group of fantastic people who believe in the project of developing the Louis Vuitton «woman». I am lucky.

Is there a particular moment you remember?

The first day, I would say, when I entered the office. At the time Michael Burke and Delphine Arnault did not tell me who was going to join me, as they had to keep it a secret. I opened the door and people inside who worked for Vuitton at a high level, were saying, «I knew it would be him!» Then they took me on a tour to introduce me to all the departments. Now Pietro (Beccari, ed.) recently joined us as ceo, and it was my turn to welcome him. However, my favorite moment, the one that fascinates me the most, is when we are all in the studio creating the collections. What happens on the runway, the show itself, is a dream, but what is really valuable is seeing a design turn into a garment. It is beautiful work, our work (laughs)!

You were talking about a great team: from Michael Burke to Delphine Arnault and Pietro Beccari today to Pharrell’s entry. A dream team that is growing. Does this excite you?

I always wanted to be part of Louis Vuitton because I really felt this family spirit. I was very inspired by Delphine (Arnault, ed.) and her enthusiasm. And now I think the transition to a new era with Pietro is very promising. There is direct and efficient communication between the parties. Most importantly, everyone really cares about the artistic vision, as they know that a good artistic vision can bring the brand great results in terms of business.

Has fashion changed much since you started? When you were at Callaghan’s, at Trussardi’s…

It is a different world, almost a different job for me. When I started in the industry, I wanted to be a designer, but here I work as an art director. This job requires you to have a cross-sectional vision, to be flexible and to be able to range from creating the image to creating the actual clothes, accessories and shoes. You know what the cool thing is? That we have to predict the times (laughs).

Is it difficult to be Nicolas Ghesquière?

I have very high expectations in what I do and in that I am supported by my team members. I support them myself to go toward the direction that I know we will make us proud and happy, and where we can share great experiences and have wonderful memories. It is difficult when you have to tell others that something is not exactly right. However, I have to say that I am lucky because this does not happen often at Louis Vuitton. (all rights reserved)