Since his appointment as creative director of Louis Vuitton in 2013, Nicolas Ghesquière has looked to reinstate the idea of destination travel within the storied house. From the tranquil seaside retreat of La Jolla in California to the wondrous sanctuary of Isola Bella in southern Italy, the creative maestro has continuously outdone himself by showing at some of the most fantastical locations in the world.
This season was no exception as Ghesquière and his team looked to the spirited city of Barcelona in Spain. The venue in question was Park Güell, a UNESCO World Heritage site that is nestled deep within the hills of the El Carmel neighbourhood. A sprawling wonderland of colourful mosaics and nature-inspired construction, the private park is recognised for being one of Catalan architect Antoni Gaudí’s most esteemed creations. Full of whimsical sculptures and stunning examples of Catalan modernism, it stands as an architectural behemoth and was perhaps a hint at the collection to follow.
Inside, a trail of winding seats ran along the circumference of the venue as the hypnotising beats of a twin soundtrack from Gary Numan’s ‘Music for Chameleons’ and Malcolm McLaren’s ‘Madam Butterfly’ flooded the echoey show space. Then the first look emerged, a boxy suit dress with contrasting taut lapels that provided the wearer with a statement silhouette. It was evocative of the larger-than-life location and scenic ambience, and set the tone for the rest of the collection.
Oversized tailoring, shimmering co-ords and cascading drapes made up the bulk of the following looks, contemporary designs that spoke to the modern Louis Vuitton customer. Present were traditional Spanish influences as well—think wide brimmed bolero hats, intricate lace appliqués and textural ruffles reminiscent of flamenco dance costumes. References to Gaudí’s works were seen in the mosaic printed jodhpurs and Pañosainspired metallic dresses, while a black asymmetric top and a tiered bubble skirt were fun and trendy pieces that could work in anybody’s wardrobe. And in signature Ghesquière fashion, there was the ever-present nod to the future, seen through futuristic aviators, sculptural hardware and iridescent make-up adding a glow to the models’ faces.
On the accessories front, many house signatures such as the Go-14 and NéoNoé Bucket returned, with designs that had been tweaked and now being offered in new fabrics and colourways. A new semi-crescent dual-zip handbag was introduced, offered in a classic monogram canvas and high-shine iterations of icy blue and hot pink. As for the footwear, the two-tone western-inspired boots with a wedged heel are set to be a fan favourite this season.
In a showing that saw a melding of fashion, art and architecture, the cruise 2025 collection was without a doubt one of Ghesquière‘s strongest yet. It painted a surrealist view of the imminent future, while staying true to everything the designer stood for. Bold and unapologetic, his vision for the maison remains unencumbered from the chatter and gaze of the fashion industry, proving once again why he remains at the top of the game.
