For Nicolas Ghesquière merging his aesthetic with Louis Vuitton’s heritage has resulted in a plethora of outgoing possibilities targeting a new generation: millennials. Revamping the luxurious maison was Ghesquière’s substantial task, and his approach towards the signature monogram and the fresh advertising campaigns have taken over fashion in a novelty turmoil.


In today’s business, monograms have returned as part of the cult and retro movement fashion’s been experiencing. And with that, it’s fair to say the subtle and updated use Ghesquière has given to Louis Vuitton’s monogram is certainly not uninspiring. With an extensive collaboration portfolio  shadowing him, it only seemed reasonable to rejuvenate the brand by reshaping the idea and execute the unimaginable; and Ghesquière has certainly delivered it.

The freshness started with his debut collection which called attention on to the miniature reinterpretation of the brand’s signature luggage. In the course of a season, the precious accessory was one of the most sought after fashion pieces. Featured on his now iconic first ‘LV’ Series, the Petite Malle became Nicolas Ghesquière’s trademark as he paved the way on to an eclectic vision where tradition and modernity collided. The new quintessential accessory arrived—the ‘LV’ monogram was subtlety incorporated—and the crowd was craving for the praised item.

As of 2013, the house decided to give the signature monogram a break under former creative director, Marc Jacobs—the same year Jacobs left his position vacant. Since taking the reigns of the established label, Nicolas Ghesquière has found a niche market bias towards monograms and social statements. He has not only incorporated the iconic logo on to accessories, but muted it on to clothes as a final touch rooting for a visually pleasing result. 


Redesigning logos, as The Business of Fashion’s Osman Ahmed says, indicates the beginning of a new era. Seeking for a reinterpretation, Ghesquière delivered a more symmetrical ‘LV’ logo ready to appeal the new generation. With a canny treatment, the design not only fascinated the crowd—as the Petite Malle did when it was first introduced—but demonstrated that Ghesquière was determined to innovate graphically and with meticulous precision.

Seeking balance between the “old” and the “new” involves creativity, and thus, one’s destined to restore the concept; the perks are just a given. A fascinating process imbued with capitalising both aesthetics was Louis Vuitton’s sacred agony. Having the pivotal task of bringing back what made the maison alluring, the French designer feels at home with such prolific history. He has found a meeting point between his architecture enthusiasm and his lyrical creations yet, in between, a line’s traced—the heritage is brought to ignite a substantial composition adequate for the monogram’s ultimate value.

Amidst an industry consumed by new generations who seek archaic items fused with avant-garde elements, Ghesquière has proven to comprehend new consumers in times where creativity is seen with peculiar perspective. Who said one couldn’t cover every segment in the market? Give your customers what they want while you fine-tune the formula to appeal the growing sector. A balance should be reached. But make no mistake; Ghesquière is all-in.