It takes a certain someone and a spectacular something to lure me to Chadstone.
Tinks led me by the hand while we explored over 160 years of Louis Vuitton style. The sheer elegance of each vintage piece was breathtaking, and the craftsmanship beyond compare with anything made post Y2K. Ha.
The mere thought of sailing around the world with full Louis Vuitton luggage in tow is a luxurious moment we all deserve to have.
As the exhibition progressed through time, we saw some extremely covetable items with modern touches; sherpa, shiny brass fixings, bold rope patterns and pure wool. Throughout the exhibit we admired iconic Louis Vuitton patterns like the grey Trianon canvas, the beige and red striped canvas, the Damier canvas and the Monogram canvas (one of the most recognisable and perhaps most copied canvasses of all time).
The classic 1920s flower trunk was probably my favourite item on display, as with the more high fashion pieces, which are associated with style mavens like Chloe Sevigny and Twiggy. The Alma Panthere bag in monogram canvas and calfskin leather (pictured below right) was designed in collaboration with Azzedine AlaÏa for the Centennial of the Monogram canvas in 1996. It is, to me, the perfect amount of leopard print to add to any outfit (unless it’s a 3/4 sleeve 60s bell coat, which I own).
Two of the more modern incarnations of the monogram pattern which I enjoy are from Marc Jacobs’ time as Creative Director (see the very naughties Mirror monogram bottom left) and the brashly red crossover with cult skate brand Supreme (which happened at the chagrin of skaters, well, everywhere).
The last presentation before the exit surpassed the entire exhibition for us, it was a couture assault to the senses, and very nicely brought to a conclusion my last ever visit to Melbourne’s self-marketed ‘fashion capital’.