Louis Vuitton and Miu Miu close Paris Fashion Week with contrasts

The final day of Paris Fashion Week presented two sharply contrasting visions of contemporary fashion, as Louis Vuitton and Miu Miu staged runway shows that approached clothing, nature and the human body from entirely different directions.

Louis Vuitton builds alpine fantasy while Miu Miu strips fashion back

At the historic Cour Carrée of the Louvre, Nicolas Ghesquière transformed the courtyard into a dramatic landscape for his latest Louis Vuitton womenswear collection. Artificial mountain ranges rose from the ground, turning the setting into something that felt part Alpine postcard, part futuristic terrain.

The set, created by Severance production designer Jeremy Hindle, set the tone for a collection Ghesquière titled “Super Nature”. The designer said the concept was inspired by the clothing traditions of mountain communities around the world — from the Alps to Central Asia and the Andes — where garments are shaped by climate, altitude and movement.

Models navigated the sculpted terrain wearing pieces that blended folklore with high fashion. Shaggy capes, oversized silhouettes and exaggerated shoulders opened the show. Fur epaulettes extended outward from coats, while cone-shaped hats echoed the simple folded paper sailor hats often made by children.

Some models carried large wicker baskets above their heads, while others walked the runway holding branches. Animal imagery appeared throughout the collection, with wolves, sheep and rabbits embroidered across skirts and jackets.

Ukrainian artist Nazar Strelyaev-Nazarko contributed painted lamb motifs that appeared in several looks. Ghesquière also referenced fashion history by reinterpreting a Man Ray parure once worn by Catherine Deneuve, updating the piece with nailhead details inspired by Louis Vuitton trunks.

Accessories became a focal point of the collection. The classic Noé bag returned in its original 1932 form, while Mini Malle bags appeared in softer constructions. Shoes also drew attention, with sculpted heels shaped to resemble antlers.

Elsewhere, tuxedo trousers replaced their traditional satin side stripes with strips of textured fluff, and rain capes in shades of scarlet and baby blue added bursts of colour to an otherwise earthy palette. Several coats were lined with hemp-based faux fur, reflecting the house’s emphasis on what it described as “hyper-craft”, an approach that transforms natural inspiration into carefully constructed fashion.

The front row reflected the scale of the event, with guests including Zendaya, Ana de Armas, Jennifer Connelly and Jaden Smith.

Across the city later that day, Miuccia Prada offered a markedly different perspective with the latest show for Miu Miu.

Rather than constructing a dramatic set, the runway was designed to resemble a disturbed forest floor. Staff scattered twigs and moss across the surface moments before the show began, creating a raw, natural atmosphere.

Where Ghesquière built an elaborate environment, Prada focused on reduction. Her collection centred on the idea that the individual — rather than elaborate clothing — should remain the focal point.

“You, as a human person, you are enough,” she said. “You have your mind. That should be enough against whatever happens.”

The clothes reflected this philosophy. The collection included small tank dresses, washed-leather jackets and softened cotton blazers that appeared intentionally worn. Slim coats were paired with flared trousers that brushed against the runway floor.

Materials included cotton poplin, boiled cashmere, linen and embroidered tulle, all designed to sit close to the body. Delicate bows referenced undergarments, reinforcing the idea that clothing could remain simple and intimate rather than protective or theatrical.

Prada’s casting further emphasised the message. Actors and models from multiple generations appeared on the runway, including Gillian Anderson and Chloë Sevigny. Their presence lent the understated collection a sense of maturity and presence.

Accessories provided the collection’s moments of visual emphasis. Embellished chapkas, crystal belts and sparkling trainers introduced flashes of decoration against otherwise quiet garments.

After a month of runway shows that often emphasised structure, armour-like silhouettes and heavy textures, Prada’s closing statement suggested a different direction — one where clothing recedes slightly, allowing the person wearing it to remain at the centre.

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