Images source: Vogue collectionIt’s hard to describe Louis Vuitton S/S 2012 collection as anything other than charmingly pretty, especially when one considers that the set included a carousel complete with 48 white horses on which each of the models sat innocently perched. Marc Jacobs himself called it "The circular dance of fashion - the circle has turned once more and arrived at a place of pure enjoyment, gentleness, joie de vivre, and love."
And a pure enjoyment it was. Set in an idyllic setting, ultra feminine and ladylike, with nary a trace of last season's fetishist theme, it was girly but not twee. Very intricate and absolutely beautiful, the collection carried on a theme of wonderful daywear pieces that’d really been worked on with couture ambition – the treatment on the collars, the cuffs and the transparent silhouettes boasting elaborate laser cuts and appliqué. The models’ hair was held in soft chignons by sparkling bands, to go with the soft, Fifties-influenced femininity of their floating, gauzy overskirts.
It was like a big fashion wedding cake with all those clean, pale colors. The icy whites and silver were injected with candy pinks, yellow and pale blue accented with touches of navy. Accessories, as always, were key – next summer fashionistas will all lush over the wonderful pointed shoes with pastel patent straps and silver toes. Marc also commissioned a minaudière, a small decorative oval purse no bigger than the length of your hand, made out of broken eggshells, 12,500 pieces to be exact, in an old process called “coquille d’oeuf.” He called it 'the most extraordinary thing we’ve ever done'.
In the end, the show did not break any new ground but it was charming and sweet, clear note to end on — if, indeed, Dior calls. The icing on the cake? Well that would be Kate Moss, who offered herself to walk again in the show, closing in a white babydoll dress that was covered in wispy feathers, looking like butter wouldn't melt in her mouth. Was this a departing love letter to the label? If rumors are to be believed and this is Marc Jacobs' last collection for Louis Vuitton before a move to Dior, it certainly completed the circle.
And a pure enjoyment it was. Set in an idyllic setting, ultra feminine and ladylike, with nary a trace of last season's fetishist theme, it was girly but not twee. Very intricate and absolutely beautiful, the collection carried on a theme of wonderful daywear pieces that’d really been worked on with couture ambition – the treatment on the collars, the cuffs and the transparent silhouettes boasting elaborate laser cuts and appliqué. The models’ hair was held in soft chignons by sparkling bands, to go with the soft, Fifties-influenced femininity of their floating, gauzy overskirts.
It was like a big fashion wedding cake with all those clean, pale colors. The icy whites and silver were injected with candy pinks, yellow and pale blue accented with touches of navy. Accessories, as always, were key – next summer fashionistas will all lush over the wonderful pointed shoes with pastel patent straps and silver toes. Marc also commissioned a minaudière, a small decorative oval purse no bigger than the length of your hand, made out of broken eggshells, 12,500 pieces to be exact, in an old process called “coquille d’oeuf.” He called it 'the most extraordinary thing we’ve ever done'.
In the end, the show did not break any new ground but it was charming and sweet, clear note to end on — if, indeed, Dior calls. The icing on the cake? Well that would be Kate Moss, who offered herself to walk again in the show, closing in a white babydoll dress that was covered in wispy feathers, looking like butter wouldn't melt in her mouth. Was this a departing love letter to the label? If rumors are to be believed and this is Marc Jacobs' last collection for Louis Vuitton before a move to Dior, it certainly completed the circle.
