Kim Jones, men’s studio and style director at Vuitton, is an avid collector of work by Antonio Lopez, and the life of the legendary illustrator proved a rich vein of inspiration: the Paris chapter in the Seventies, when the French capital was in creative upheaval, and the Eighties, when Lopez discovered Japan. Jones wove together this tale of two cities in a polished and confident collection brimming — and occasionally spilling over — with luxury. During a preview, Jones spoke about “masculine, heroic figures” and the virtue of men’s wear that is “purposeful.” To a throbbing Giorgio Moroder soundtrack performed live, models marched out of a gleaming silver globe in outfits sure of their destination — the office, the theater, a weekend in Gstaad. There were riffs on foul-weather hunting jackets, in waxed cotton with pressed suede collars and elbow patches of suede-finish crocodile. Parkas came in flashy high-shine nylon or high-tech reflective fabrics, with showy fur hoods or shearling collars. Yet the more discreet, formal items won out: Robelike coats, lustrous suits and handsome evening jackets. One of the most hyper-luxurious items was the quietest: an indigo evening suit, made of a silk hand spun by Okujun, whose painstaking production technique is recognized by UNESCO. It is slow fashion, indeed. Asked how much fabric the firm produces, Jones drawled: “They do 20 centimeters [about 8 inches] a day.”

Kim Jones, men’s studio and style director at Vuitton, is an avid collector of work by Antonio Lopez, and the life of the legendary illustrator proved a rich vein of inspiration: the Paris chapter in the Seventies, when the French capital was in creative upheaval, and the Eighties, when Lopez discovered Japan. Jones wove together this tale of two cities in a polished and confident collection brimming — and occasionally spilling over — with luxury. During a preview, Jones spoke about “masculine, heroic figures” and the virtue of men’s wear that is “purposeful.” To a throbbing Giorgio Moroder soundtrack performed live, models marched out of a gleaming silver globe in outfits sure of their destination — the office, the theater, a weekend in Gstaad. There were riffs on foul-weather hunting jackets, in waxed cotton with pressed suede collars and elbow patches of suede-finish crocodile. Parkas came in flashy high-shine nylon or high-tech reflective fabrics, with showy fur hoods or shearling collars. Yet the more discreet, formal items won out: Robelike coats, lustrous suits and handsome evening jackets. One of the most hyper-luxurious items was the quietest: an indigo evening suit, made of a silk hand spun by Okujun, whose painstaking production technique is recognized by UNESCO. It is slow fashion, indeed. Asked how much fabric the firm produces, Jones drawled: “They do 20 centimeters [about 8 inches] a day.”

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