Ghesquière may have embraced wearable design, but you'd better believe he understands how to make his work stand out. And, of course, there was leather, pieced together in bright stripes on a shirtdress or, quite spectacularly, cut into thin strips and woven with metal rings in such a manner that a high-necked minidress almost resembled lace. If you think of his debut last season like an architect's early schematic design, this collection was more filled-in, with plush velvet pantsuits densely sequined zip-front minidresses worn with thick, textured tights and a sleeveless shift in an amusing print of makeup, household appliances, and muscle cars. "It's still a wardrobe, it's about an instinctive mix." But undeniably it's a special wardrobe. "No rupture with last season," Ghesquière said afterward. Cue a navy blazer and cropped jeans worn with a white high-necked blouse, a fitted green sweater tucked into a mid-length black skirt with a high middle slit in the front and back, a straightforward peacoat. Quite the opposite: The cut of the clothes was designed to be familiar. His terrific show today began with a video clip of youthful faces speaking in unison lines that had been lifted and modified from the 1984 David Lynch film, Dune: "A beginning is a very delicate time…Day zero in the heart of the project, code-named GEHRY014…A ship surrounded by a gigantic woodland, a ship made up of 3,600 glass panels and 15,000 tons of steel, a ship that serves as an incubator and ignites our fellow creative minds…Oh, yes, I forgot to tell you, today, October 1, the LV house wants to explore the ability to travel to any part of the universe without moving. His debut collection for Vuitton last March, his first after a year's absence from the runway, sent ripples through fashion that are registering this season with an industry-spanning 1970s revival. In the Paris show venue stakes, Nicolas Ghesquière zoomed out so far ahead today, his fellow designers will be wrenching their necks to get a look. The Fondation Louis Vuitton, Frank Gehry's new masterpiece (in this case the word might be an understatement), was gleaming above the Bois de Boulogne in the October sun.
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