Louis Vuitton Finds Its Place in the Picture
Review of Louis Vuitton Cruise 2027 Ad Campaign by Photographer Ethan James Green with Chase Infiniti, Alysa Liu, Giulia Maenza, and Amiah Miller
The most compelling exchanges in Louis Vuitton’s Cruise 2027 campaign take place between the clothes and the paintings around them. Photographed by Ethan James Green at the Frick Collection in New York, the imagery brings Nicolas Ghesquière’s designs into conversation with the gestures, proportions, and decorative richness of the museum’s collection. Returning to the setting of the house’s May show gives that relationship another opportunity to develop. Through Green’s portraits, we begin to see how closely fashion can engage with history while retaining its own restless imagination.
A floral minidress with a high neckline and expansive balloon sleeves offers one of the clearest examples. Its generous volumes find an affinity with the painted fabrics nearby, while its dense pattern resonates with the surrounding upholstery. The short hem and compact silhouette give those associations a distinctly contemporary expression. Ghesquière’s design seems entirely comfortable among these references, drawing energy from their proximity. The photograph invites the eye to move between the garment and its surroundings, discovering similarities in the way fabric gathers, expands, and frames the body.
Elsewhere, a black hat and vivid red cardigan establish a playful correspondence with a painted sitter wearing elaborate headwear accented in red. Reworked denim and metallic footwear carry the look into another register, creating an engaging mixture of familiarity and surprise. A lilac bag and bright turquoise skirt introduce a different rhythm beside a pale, elongated painted figure. These moments make the museum an active participant in the campaign. Color, scale, and styling become ways of entering a conversation already unfolding on the walls.
That relationship suits the collection’s varied vocabulary. Sculpted black leather, precise tailoring, transparent knits, and decorative surfaces offer different ways of considering the dressed figure. The glossy leather looks are particularly persuasive within the pale, elaborately ornamented rooms, their volume and sheen giving the body a strong presence against carved marble and gilded paneling. Ghesquière’s combinations encourage an imaginative movement between periods and sensibilities. History becomes something available for interpretation, with its shapes and gestures given fresh possibilities through contemporary dress.
Green’s photography makes these connections accessible. His wider compositions allow the artworks and architectural details to remain legible, giving the clothes a meaningful place within each room. Closer portraits reveal texture and expression, returning the viewer’s attention to the person inhabiting the look. Warm light draws out the grain of leather, the softness of knitwear, and the intricate surfaces surrounding them. The photographs reward looking across the frame, with enough visual correspondence to hold the collection and the setting together.
The cast’s ease adds an important human dimension. Chase Infiniti, Alysa Liu, Giulia Maenza, and Amiah Miller occupy the galleries with a mixture of composure, curiosity, and amusement. A reclining pose beneath a painting or a jacket draped over a seat suggests a comfortable familiarity with these grand rooms. Their informality keeps the exchange between fashion and art lively, allowing the clothes to feel like personal choices within an environment rich with prescribed ways of presenting oneself.
Accessories extend the conversation into smaller details. Structured bags and polished hardware echo the frames and furnishings, while illustrated objects on a colorful bag create a miniature collection of their own. The house’s travel vocabulary finds a fitting expression here through the accumulation of visual impressions. Moving through these rooms offers the possibility of carrying away a color, a shape, or an unexpected association.
The Frick earns its place in this campaign because it helps us see Ghesquière’s designs more fully. Green gives the encounter clarity and personality, allowing the relationship between clothing and art to emerge through specific, carefully composed images. The campaign’s pleasure lies in following those connections. A familiar gesture, an elaborate sleeve, or a particular shade can travel across centuries and still have something new to say.
Louis Vuitton Artistic Director of Women’s Collections | Nicolas Ghesquière
Photographer | Ethan James Green
Talent | Chase Infiniti, Alysa Liu, Giulia Maenza, Amiah Miller
Location | The Frick Collection, New York