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As Louis Vuitton finds itself navigating a path in search of a new leader, the exploration of perspectives and the expression of new versions of the house's codes has not ceased, taking the opportunity to collaborate with new creatives to elaborate new visions of the same story. This time, Colm Dillane, the creator of KidSuper, takes over the Maison and, with the help of a big team, tells a life story.

The feeling of community is one of the most important pillars within the internal dynamics of Louis Vuitton; teamwork has always been vital, and this feeling of collaboration is more than enhanced when going through difficult periods, such as the sudden disappearance of a leader. This is why in this collection, the contribution of each member of the Louis Vuitton design team, as well as the different creatives who were part of this almost cinematographic experience, was indispensable to achieving the aesthetic and the powerful narrative that were unveiled in this collection.

The multidisciplinary artist and designer Colm Dillane, responsible for one of the trendiest creative firms of the last few years, who is characterised by his colourful, connective, and joyful spirit; the French directors Michel and Olivier Gondry, known for their participation in A-list films and the already well-known Gondry-esque techniques; the Spanish artist Rosalía, who was not only a singer but also the musical curator of the show; and the usual Ib Kamara as a stylist are just some of the names behind this story. A set design that goes through the different stages of life, from childhood to adulthood, with different elements such as wallpaper full of random doodles and colourful children's rooms that take us on a journey down memory lane to our fondest memories and how they have been transformed over the years.

To represent this evolution of stages, the pieces were a reflection of the youthful vision embodied in adult garments. Through different manipulations, formal garments such as suits or coats were adapted to the childish or youthful vision of paternal masculinity, where colourful prints break with the sobriety of the most classic grey, belts are tied in a disorderly way, and even the collars of the shirts are larger than they should be. The tailoring work is remarkable, with twists and pleats that don't compromise the structure of the garment or optical effects that make you think they've put two jackets on top of each other. Pieces such as the artistic puffer jackets in contrasting colours and fun patterns are similar to those seen previously in KidSuper.

The memories of the past were not only the protagonists; a futuristic vision was also present. With the impact of the digital era on new generations, various, more technological elements burst into the garments' pseudo-classical aesthetic. The most literal are the coats with screenshots in the middle with different messages alluding to the future, but more subtle resources and techniques, such as embroidery made with pearls and sequins reminiscent of white noise or blurred images interpreted in jacquard that imitate what a camera captures out of focus, were some of the resources present.

Despite the digital element, the value of the human was not left aside; the memories of our passage through the world were materialised in the form of real letters written by the design team and captured in fragments of leather seen in bags, suits, and handkerchiefs as a symbol of legacy and of the most personal and real fingerprints. A collection perhaps somewhat scattered by the presence of so many elements and references but which did not fail to contribute even more to the construction of the future image of the house, creating an experience that was both spectacular and personal.

 Natalia Andrea Pérez Hernández

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