PARIS — After four weeks, four countries and hundreds of shows; after protests in Italy and the Olympics and the Oscars; after the emergence of the 1980s and shirtdresses and silver foil and argyle and ponchos as the ubiquitous trends; on the eve of International Women’s Day (which is either a cosmic coincidence or fate, depending on your point of view), the fashion season finally came to end in the Lefuel courtyard of the Louvre.
The internal square was built between 1854 and 1857, when it was used primarily as a passage for horses, and it had never been open to the public. But Louis Vuitton has a longstanding relationship with the museum, and it needed a big, open space for the show. So on Wednesday in the fashion world stumbled, only to discover what looked like the landing pad for a giant intergalactic spaceship at the end of the ramps that once led the animals into the stables. Now, they were a runway, down which came a parade of Starship Troopers in vestiges of the outfits of the French female bourgeoisie.
There’s a metaphor in there, if anyone cares to dig it up.
But though backstage the designer Nicolas Ghesquière said he and his staff had countless conversations about #MeToo, this was not really #ThatToo. At least not beyond the fact that if we learned anything from this season, and designers working at this particular time, it is that all women’s wear should be by definition about #MeToo (about empowerment and a celebration of personal agency). And it should be an underlying presumption of the form, as opposed to an overlay.
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