Nicolas Ghesquière presents his Resort 22 once again at a distance, letting himself be inspired by utopia and science fiction, playing with the absence of the public to decontextualize the collection from any space-time principle.
Last year the presentation of the first Resort collection in times of covid signed by Ghesquière was forced to give up the warm audience and reduce everything to an intimate and armored presentation. The choice, although not an obligation, was an unwritten rule of common sense and respect for almost all fashion houses, Louis Vuitton no less, proposing a shooting in location in the LV headquarters in Paris, a collection with references to 80s and an imaginary at The Office among photocopiers, paperwork and fire doors.
This year, many Maison have decided to return to the energy and conviviality of the guests physically present at the show. With more than a year of experience behind it, it has been possible, for many brands, to implement safety measures and set up shows that are as similar to old habits as possible without particular problems or risks.
Despite the possibility, however, Ghesquière wanted to tread the solitary side of him, his newfound peace in absence, his predisposition to science fiction. It was thanks to this passion, which has always been part of the artist’s DNA, that his inner dream of depersonalization of the universe was able to take shape.
He did it through a short movie shot at the Ax Majeur, just outside Paris. A suspension bridge in the middle of nowhere designed by Israeli artist Dani Karavan, a futuristic and somewhat dystopian structure that perfectly matches the imaginary alien abduction in the Jurassic era staged by the creative director.
The clothes, then, have nothing dark and threatening as this opulent description might have implied. Feathers, XL volumes, super loud all-over patterns, sportswear details and coated fabrics.
The leitmotif of alien abduction, however, is also found in the choice of prints. Lightning and thunderbolts stand out on planets, mountains and ski resorts, not to mention the space-shaped clothes that greet from afar the iconic concept of the future by Pierre Cardin coined after the first landing on the moon: plastic accessories, internal support structures and comic book admiral epaulettes.
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