Art that
becomes Fashion 

Nicolas Ghesquière enters into a sensual dialogue between art and nature for Louis Vuitton— together with the Paris-based conceptual artist Laurent Grasso.

Parts of the collection take up works from Grasso’s “Studies into the Past” series. Three looks and a bag translate his dream-like paintings into fashion that reflects his ethereal landscapes: cinematic skies, flowing auroras, floating meteorites. The result is a series of scenes in which fashion and nature merge into a fantasy of space and time.

Grasso combines art, nature, and time in an extremely complex way. Cosmic phenomena distort his perspective on history—classical techniques meet surreal elements. The result is “false historical memories” in which the boundaries of epochs are dissolved, and past and future merge into a single visionary narrative. Grasso’s art fits seamlessly into Ghesquière’s aesthetic—united by a shared enthrallment with the interweaving of time.

“I am fascinated by the idea of juxtaposing works from past times with futuristic ones—as a dialogue between different dimensions of time.” Laurent Grasso

Jonathan Anderson stages art history for Loewe by transforming van Gogh’s “Sunflowers” and “Irises” into textile works. A silhouette with the “Iris” motif—the original hangs in the Metropolitan Museum of Art in New York—meets a yellow T-shirt adorned with van Gogh’s iconic “Sunflowers.” These “Art Looks” resemble curated museum store souvenirs—with cult appeal and intellectual subtlety, Anderson questions the boundary between homage and reinterpretation. In keeping with the painter’s expressive brushwork and preference for the brightest yellow, the collection also pulsates with energy.

Van Gogh is considered a pioneer of modernity. Anderson has redefined Loewe in a similar spirit—from a traditional leather house to a culturally charged maison. Just as van Gogh translated emotion into color, Anderson fuses ideas into craftmanship. Each, in their time, has reimagined the idea of modernity.

Emotion characterizes the work of Italian designer and architect Gaetano Pesce as much as it does that of French fashion designer Matthieu Blazy, now at Chanel. Their creative dialogue began the expressive show sets for Bottega Veneta in 2022—and has continued beyond Pesce’s death in April 2024. In Pesce’s honor, Blazy takes up his nature- and marine-inspired motifs: starfish jacquards, fish and tree textures, and scarves reminiscent of Pesce’s iconic “spaghetti vase.”

Blazy translates Pesce’s preference for poured resin and unpredictable forms into fabrics that play with visual perception—paper-like silk, waxy leather, and hyper-real craftsmanship. For both, material is a vessel for emotion. Pesce’s imaginative objects are echoed in Blazy’s silhouettes, where natural motifs oscillate between authenticity and surrealism. Blazy reimagines craftsmanship—as an expression of intellect and playfulness, together shaping a modern language.

Designer Gabriela Hearst draws inspiration from myth, nature, and art. A signature look, inspired by one of her own paintings and handcrafted by Indigenous artisans, combines colored yarns to create multidimensional color gradients that resemble the lightness of a watercolor.

These artistic washes quietly recall the work of the artist Georgia O’Keeffe—the “mother of American modernism.” Her watercolors resemble dissolved landscapes, a kind of visual reflection of her relationship with nature.

Hearst’s fluid craftsmanship also mirrors O’Keeffe’s artistic methodology: Her fashion is a visual meditation on presence and depth. Just as O’Keeffe once said her work was a gift to the world, Hearst sees her fashion as a gesture—and sustainable design as an act of poetry. Using regenerative materials, traditional techniques, and mindful innovation, she creates silhouettes that feel both sculptural and soft. The parallels between the two artists are clear: from focus comes form, and from matter comes art.