Louis Vuitton’s travel–inspired show dazzles but takes some missteps

Louis Vuitton’s latest show transformed a Parisian station into a theatrical runway, channelling vintage travel aesthetics. While the vision was striking, some experimental designs risked overshadowing the collection’s narrative.

What was the show all about?

Louis Vuitton turned a historic Parisian train station into a spectacle of cinematic fashion on Monday night, as Nicolas Ghesquière’s latest collection unfolded amid a star-studded audience. Taking inspiration from the golden age of rail travel, the show aimed to transport viewers into a world of mystery, nostalgia, and adventure. However, while the presentation was rich in storytelling, some styling choices left even seasoned fashion insiders questioning the designer’s direction.

The setting, L’Étoile du Nord, was described by Louis Vuitton as “a hidden station where past and future travellers converge.” This 1845-built structure, once an office for the Compagnie du Nord railway company, became the perfect backdrop for a collection steeped in movement and anticipation. The atrium was transformed into a grand train station waiting room, reinforcing Louis Vuitton’s deep-rooted connection to travel and luxury.

From the front row, Hollywood and fashion elite—Emma Stone, Jennifer Connelly, Ana de Armas, Chloë Grace Moretz, Lisa, Jaden Smith, Ava DuVernay, and Sophie Turner—watched as shadowy figures drifted across the upper windows, evoking ghosts of bygone travellers. It was a fitting tribute to Vuitton’s origins in the days of haute couture train journeys, when affluent women packed entire wardrobes into monogrammed trunks.

Ghesquière, known for infusing filmic elements into his designs, channelled a narrative of train stations both real and imagined. Models embodied travellers of all kinds: detectives in structured trench coats, campers wrapped in oversized New Wave sweaters, and partygoers rushing to catch the last train in ruched velvet dresses.

One standout piece—a voluminous layered tulle skirt in deep fuchsia—captured Ghesquière’s love for fusing historical and futuristic aesthetics. The skirt’s dramatic silhouette was balanced with a contemporary knit top and slicked-back hair, embodying the designer’s signature juxtaposition of eras.

However, not every ensemble struck the right note. Some combinations felt more like costumed characters than polished fashion statements.

While the collection’s narrative was clear, the styling at times veered into excess. One particularly confounding look—a massively oversized fisherman’s hat paired with an enveloping scarf, amorphous dress, and horizontal belt buckle perched awkwardly above the bust—left many questioning its practicality.

Certain ensembles showcased Ghesquière’s ability to construct visually striking pieces, such as translucent trenches and sharply tailored jumpsuits. Others, however, felt overworked, as if layering had been applied hastily rather than with intentional complexity.

In some moments, the collection’s cohesion wavered, with designs oscillating between masterful craftsmanship and experimental chaos.

A standout capsule within the collection was Louis Vuitton’s collaboration with electronic music pioneers Kraftwerk. The legendary band’s influence was woven into pinstriped jumpsuits and accessories featuring Trans-Europe Express graphics, reinforcing the rhythm of the travel-inspired showcase. Additionally, Vuitton revived its 1988 ceramic-bezel watch, a nod to both precision in travel and timeless design.

As the final model disappeared from the train station set, a lingering question remained: After 11 years leading Louis Vuitton, has Ghesquière’s vision for the brand begun to lose momentum? While the collection had its breathtaking moments, the journey this season didn’t always have a clear final destination.