English Version | Güell done

A touch of Spanish salero, a pinch of French nonchalant, a result that defies all expectations: sartorial codes are subtly subverted to be applied to an infinite number of shapes that play with volumes and geometry. Graphically appealing, Nicolas Ghesquière gives his characteristic style a touch of Spanish flair, taking inspiration from the iconic Antoni Gaudí to transform his fashion designer lines into architect ones in these pieces that challenge the classic canons of the most emblematic sketches. By presenting architectural looks and fluid drapes, playing with the traditional figures of coats, skirts, overcoats..., the collection intrigues through its elegant exploration of contrast: with Spanish details that catch the eye, from hats to adornments such as embroidery, fringes and ruffles, there is sophistication and sumptuousness in this Franco-Spanish mix.

It is no coincidence that the set chosen for this presentation, which marks ten years since Ghesquière's first Cruise presentation for Vuitton, was Park Güell. In addition to the obvious sculptural connection evident in the modeling of the looks that Nicolas sent to the runway at the Hypostyle Room in said park, the avant-garde aesthetic of the place - and, consequently, of Antoni - which mixes nature, stone and mosaics, echoes the visionary spirit of Louis Vuitton. This echo is also reflected in clothing: the creativity and manual technique that appear obvious in the construction of Gaudí's famous mosaics also seem to resonate in the elaborate textile surfaces that translate into floral motifs, whether in texture, sequins, or colors, that punctuate the collection here and there. Perhaps this is where Nicolas moves away from the Gaudí stereotype. The architect is also known for his colorful and vibrant tiles, but in this case, Ghesquière opts for a chromatic palette that has much more to do with the sobriety of a Sagrada Familia than with the vibrancy of Casa Battló. Otherwise, the signs of Spain are all there - the wink at the toreros on accessories or pants; the nod to flamenco in the ruffles on the skirts; the tribute to Gaudí in the curves of the silhouettes, such as the balloon shape, recalling the rounded corners of the Catalan artist’s work and architecture - but the maison's stamp is also manifested, in its extreme elegance, in the nobility of its materials, in the refinement of its finishes, in the polished visuals that reveal the fashion capital.

More than an architect, Antoni Gaudí is like a land in itself that, to this day, continues to gather space in the city of Barcelona and this idea of ​​a legacy in constant mutation suits, of course, Louis Vuitton. It is no coincidence that the brand's Resorts are subordinated to the idea of ​​travel (in fact, a philosophy that is the hallmark of the maison, in practically all of its projects): there is always an underlying exchange of influences in these discoveries that replicates the traditional give and take on any route of exploration and search for new experiences. In this foray into Gaudí's architectural utopia, in the garden opened in 1914 that has been a UNESCO World Heritage Site for 40 years, the borders between countries dissipate into a symbiotic collection of the two territories, translated into details and lines that cry out so much Oh la la! as it cries out Olé!. Staged in this incomparable architectural organism, the Cruise 2025 collection is immersed in the flourishing culture of Spain. As if in homage to such an opulent purity, the rigorous spirit of the French house embraces the country's passionate character, trying to replicate it both in the fervor of its colors and in the dichotomy of light and dark that is never contrasting; but it also tries to recreate the fidelity to tradition elevated to artistic expression that is so Spanish. The result is a style of its own, an art of traveling enriched by the specificity of a different land, its iconography, but above all, the way in which Vuitton has made it its own. Or rather, ours. For all of us.

Translated from the original in Vogue Portugal's The Icons Issue, published November 2024. Full story and credits in the print issue.