路易威登2025春夏女装系列

“I think if you don’t put yourself in aesthetic danger every season, you’re not playing the game of fashion.” Nicolas Ghesquière made that memorable remark on a recent episode of Vogue’s The Run-Through podcast. It was a fitting summation of the often exquisite Louis Vuitton collection he presented tonight in a show that capped off his 10th-anniversary celebrations at the house.

“我认为，假如每一季你不把自己置于审美危机之中，那么你就没有真正参与时尚游戏。”Nicolas Ghesquière在《Vogue》杂志举办的最近一期“The Run-Through”播客节目中发表了这句令人难忘的评论。这句话恰好概括了今晚他在路易威登时装秀上呈现的一如既往精美的系列作品，本场秀为其与品牌携手十周年画上圆满句号。

Ghesquière was off on another time-traveling trip, this one to the Renaissance, an era he said he feels personally connected to, having grown up in France’s Loire Valley with its centuries-old chateaux. The collection opened with a group of jackets—all puffed sleeves, pulled-in waists, and peplum hems—but the biker shorts and chunky leather sandals they were worn with brought them back to the here and now. So did the supple construction of what would have been in the past very ponderous coats.

Ghesquière再度踏上时空之旅，这一次穿越到文艺复兴时期，他表示自己对于那个时代有着切身感受，因为从小在法国卢瓦尔河谷长大，那里伫立着数百年历史的城堡。本系列以一组夹克开场，所有夹克均配有泡泡袖、收腰设计和荷叶边下摆，但与之搭配的机车短裤和厚实皮革凉鞋又将观者拉回现实之中。在过去，大衣显得异常笨拙，而如今的轻盈结构令人眼前一亮。

He liked the idea of developing the architectural shapes he prefers but with a lighter hand and a fluidity in make. “The game,” he explained, “was to work with the two ateliers—there’s flou and there’s tailleur—and we break boundaries. It’s a contraction, to build these clothes with as much detail and structure, letting go of gravity somehow.”

他喜欢援引自己喜爱的建筑造型，但在制作服饰时需要采用更为轻盈的手法和更为流畅的线条。他解释道：“这是一场和两家工坊展开合作的游戏，其中一家名为‘模糊’（flou），另一家名为‘裁缝’（tailleur），我们需要打破两者的边界。这是一种收缩，利用如此多的细节和结构去打造这些服饰，以某种方式摆脱重力束缚。”

Subsequent looks married breeches with roomy blouson jackets and/or drop-waist ribbed knit dresses, and Ghesquière challenged his team to cut coats that look and feel more like blouses. “The lightness of the silk fabric is very alive,” he said. “What I really wanted is that you couldn’t put a name on these pieces.” The day/evening divide would’ve been slippery too, but for the lavishing of embellishments, like the cabochons dotting loose-fitting tops worn with his take on the transparent pantaloons that have become one of the season’s breakout trends.

随后登场的造型将马裤与宽松的束腰夹克以及/或低腰罗纹针织连衣裙相结合，Ghesquière向他的团队成员提出挑战，要求他们剪裁出看起来更像衬衫的大衣。他说：“桑蚕丝面料的轻盈感非常有生命力。我想要实现的效果是，你无法为这些作品命名。”如果去除那些繁复的装饰物，日装/晚装的界限也会变得模糊。例如为宽松上衣点缀凸圆形波点，再搭配已然成为本季的流行趋势之一的透明灯笼裤。

The stars of the show came at the end. They were a trio of unstructured jackets featuring paintings by the French artist Laurent Grasso from his series Studies Into the Past, on which he inserts modern celestial and atmospheric phenomenon into works rendered in the style of the Renaissance greats. It’s hard to imagine a more fitting artistic collaborator.

时装秀的压轴作品最后登场。这三件结构柔软的夹克印有法国艺术家Laurent Grasso笔下《研究过去》（Studies Into the Past）系列画作中的图案。他将现代天体和大气现象融入文艺复兴风格的作品之中。很难想象还有比这更合适的艺术合作伙伴了。

Ghesquière mentioned one more challenge he’d set himself: the creation of a “generational” bag, meaning, it seems, an everyday sort of style with a casual cool in contrast to the preciousness of the clothes. Pictured in Look 1 and 2, it follows the rules of his game: Where most LV bags are structured, this one has the “soft power” he was after.

Ghesquière提及了他为自己设定的另一项挑战：制作一款“世代相传”的手袋，这似乎意味着一种适合日常使用的休闲风格，与服饰的华美气质形成鲜明对比。造型1和2中的手袋遵循了他的游戏规则：大多数路易威登手袋均具有挺括结构，而这款手袋则展现出他所追求的“柔韧之力”。

BY NICOLE PHELPS

撰文：NICOLE PHELPS

网址：路易威登2025春夏女装系列 https://m.mxgxt.com/news/view/1491969

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