His pixelated Damier print appeared on several bags as well, notably an oversized Alba bag. Many also carried calf leather monogram Speedy bags in bold primary colors, which Williams stated were inspired by the counterfeit versions sold on New York City’s infamous Canal Street. The models strode down the runway in a variety of on-trend shoes including chunky Mary-Janes, bedazzled loafers, and oversized lug-sole boots. Although the clothing of Williams’ first collection was unique and statement-making on its own, the bags and shoes that accompanied each look demonstrated that the new creative director also recognizes the importance of putting his own stamp on these products. Of course, Louis Vuitton is one of several luxury labels revered primarily for their iconic leather goods. Related How a Polish Aid Group is Making a Difference in Ukraine's War-Ravaged East However, by putting a Louis Vuitton house code that is not the principal in terms of brand association at the forefront of his first show, Williams not only demonstrated his willingness to dive deeper into the label’s history, but also prove his talent and creativity as a fashion designer. And, considering the longstanding and established Louis Vuitton brand identity, this is no mean feat. The fact that Williams chose to highlight the Damier pattern over the Damier Ebène demonstrates his clear intention to carve out a distinct place for himself in French house’s history. Ordinarily, when consumers think of the canon of Louis Vuitton house codes, the first one that typically comes to mind is the ubiquitous “LV” and quatrefoil logo pattern, called the “Damier Ebène.” Although Williams did use this motif a handful of times throughout the show, its appearances were sparse and nowhere near as frequent as those of the Damier checkerboard print. What is particularly intriguing about Williams’ transformation of the Damier print is his decision to make it the anchor of his collection. This digitized iteration of the historic motif appeared on numerous garments, accessories, and handbags in a slew of different colors and textiles. to create an updated, pixelated version of it. Perhaps the most notable of these was the “ Damier” print, which is, traditionally, the light and dark brown check pattern that typically adorns many of the label’s leather goods.įor his inaugural show, Williams made the Damier print the focal point and even joined forces with the American pixel artist known as E.T. The collection also saw Williams transforming long-established Louis Vuitton house codes for the modern era. Likewise, there were numerous instances of re-imagined suiting, with pearl-encrusted oversized trousers, pleated knee-length skirts, and cropped tweed blazers. This could be seen on several pieces, including Impressionist painting-printed leather coats, in both short and long variations, with the text “The Louis Vuitton Lovers Presents,” emblazoned across the front in a muted green font similar to that used on American paper currency. Comprised of 73 looks in total, it was undoubtedly imbued with Williams’ unique and effortlessly cool personal style. Despite the myriad of celebrity heavy-hitters lining the front row, the collection itself easily stood on its own.
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