WALKING towards the Louis Vuitton SS25 show—the penultimate event of the season, held at the Cour Carrée—an inescapable sense of reflection and gratitude permeated the atmosphere. Parisians had gathered around the courtyard, largely cordoned off in preparation for the show, finding whatever space they could to settle in and witness the inevitable spectacle that accompanies an event of such grandeur.
The atmosphere was vibrant, naturally charged with excitement. As we navigated through the crowd, beneath the painterly sky setting across the glistening Louvre, with the knowledge that the season was just minutes away from closing, a deep appreciation for the magic and sense of community that the industry so often evokes was undeniable.
The arrival of A-list attendees to the scene ignited an orchestra of screams, with swarms of fans flanking the walk from car to venue, their cheers reverberating across the expansive courtyard and amplifying the magnitude of the House’s influence with natural acoustics even Louis Vuitton could not have devised.
The stark contrast between this raucous reception and the profound silence inside the mirrored show enclosure was striking and symbolic. Creative Director Nicholas Ghesquière expressed a desire to reconcile two antagonists, softness and power, in this collection.
“Sartorial soft power can also be a striking back-and-forth between two contradictory yet harmonious opposites” the show notes revealed. This juxtaposition was probed by Ghesquière, utilising two different ateliers to challenge the balance of materials.
The cropped jackets, most notably, were crafted from fabrics previously used only in blousons—so lightweight that the material billowed across the arms, creating an interplay of shapes that gave the garments a life of their own. This fascination with the mechanics of fluidity was palpable throughout.
Standout pieces included Grecian sandals in a kitten heel silhouette, with leather straps that replicated the handles of Louis Vuitton trunks, as well as the two-bags-in-one-hand styling—a familiar sight on the streets, but rare on the runway. The pantaloons that have become Ghesquière’s signature appeared in a translucent, ethereal sheerness with contrasting hems, pushing their already iconic form further.
Inspired by the Renaissance era, Ghesquière once again delved into his repertoire of historical fashion references, expanding on his enduring interest in military silhouettes, the French bourgeoisie, and the Juliette sleeve, formerly emblematic of that period.
This foundational reference was, however, given a contemporary twist, with Ghesquière collaborating with artist Laurent Grasso to create printed fabrics featuring five paintings from his series Studies into the Past.
Grasso’s prints concluded the show, presented in a trio of silk jackets so lustrous they appeared as though rendered in oil paint, effectively blurring the boundaries between reality and imagination. This was not the first remarkable visual spectacle of the evening, however, the catwalk—constructed from over 1,000 Louis Vuitton trunks that gradually rose as the opening look made its way down the runway—was an unparalleled display of visual mastery.
Marking ten years of Nicolas Ghesquière at Louis Vuitton, the sense of gratitude swelled as he took his gracious bow. At a time when the perpetual game of Creative Director musical chairs seems endless, it is unsurprising that Ghesquière’s presence can provide such a profound sense of solace.
by Lily Rimmer