The Paris-based artist, Justin Morin collaborated with Ghesquière on the set, which took shape as an ad hoc arrangement of 57 concrete columns ripped in half and clad in smashed mirrored tiles (an installation that was inspired by his work 'Melted Bones', 2011). It looked like some meteorite had hit the Louis Vuitton Foundation from outer space. While we're on the subject of epic journeys, for show goers - including Léa Seydoux, Selena Gomez, Jaden Smith and Alicia Vikander - it was no small task arriving here this morning. With a public transport strike, heavy rain and traffic to contend with, the show was 45-minutes late in starting. It proved to be worth the wait.
Ghesquière loosened up the silhouette with a series of bias-cut silk skirts in graphic black and red, which were seemingly held together with silver staples. But if the lower half was loosened, the top half was rigorous and strict. Shrunken patent coats were buttoned only at the waist, tails left to fly; second-skin pannier jackets with ring-pull zips added curve and accentuated wasp waists; while his finale silk dresses were free-flowing except for armoured leather bra-tops that wrapped around torsos and keyed a tougher edge.
There was something about it all that looked ready for battle, even the black narrow trouser suit, which had vertical gashes revealing white beneath, looked as though it had gone 10 rounds and came out on top. The collection was animated with a sports vibe, his muse is a woman on the move "whose elegance springs from her dynamism", and if the sporty mohair sweaters and remodelled track pants with cargo pockets and contrast piping were anything to go by, one got the impression that this season she had her motocross bike parked outside.