In 1989, Nicolas Ghesquière, then 18 and a fashion assistant at Jean Paul Gaultier, embarked on his first trip to New York. The city left a lasting impression on him, as it does on many. Reflecting before Louis Vuitton’s cruise show, he reminisced about his stay in a loft on Lafayette Street, a late-night meal at Florent, and an impromptu party at artist Francesco Clemente’s place, attended by notable figures like Helmut Newton and Iman. His eyes lit up as he recalled the exhilarating moment: “New York!”
For his second Louis Vuitton cruise show in New York, following the 2019 event at the Eero Saarinen-designed TWA Terminal at JFK, Ghesquière aimed to capture the vibrant energy and expansiveness of the city. He was particularly fascinated by the contrast between uptown and downtown, and the dynamic interplay between these two worlds. “I think it’s a question that will never be answered: this duality,” he remarked. “I love that and it was a very interesting starting point for the collection.”
The inspiration for the show was Keith Haring, a graffiti artist who transitioned to fine art. Ghesquière highlighted how Haring’s work bridged the uptown/downtown divide. “His message, [about] the accessibility to the exquisite, is really something very important to share still today,” he explained. Interestingly, after setting the season’s theme, he learned that Vuitton had acquired a 1930 suitcase, adorned by Haring with a black Sharpie and given to a roommate in the 1980s. This suitcase, a symbol of journey, was featured in the show’s first look: denim overalls tied at the waist and a simple v-neck cardigan.
The show took place at the Frick Collection, a Beaux Arts mansion turned museum, recently renovated by Annabelle Selldorf and now supported by a new three-year sponsorship from Louis Vuitton. By the show’s conclusion, the downtown style of quilted wrestling sneakers, a crushed fedora, and an everyday cardigan had transformed into a Gilded Age “cameo,” as described by Ghesquière, featuring ruffles and a lace bodice with cut-out flowers. Throughout, there were tributes to Haring, including a hand-printed leather jacket, bags reminiscent of yellow cabs and takeout containers, and a floral jacquard silk faille ensemble echoing the Frick’s wallpaper. Alana Haim also made her runway debut in an embroidered sundress.
Ghesquière’s collection avoided extreme silhouettes or heavy felted fabrics seen in his previous show at the Louvre. Even in New York, his commitment to a free-spirited, and sometimes described as “kooky,” vision remains unchanged. The eclectic mix of Edwardian ruffles and modern spandex, skirt suits for the sophisticated and origami-folded mini skirts, satin boxer shorts, and leather race car jackets reflect a designer who refuses to be constrained.
