PARIS — In an electrifying showcase of creativity, Louis Vuitton hosted an extraordinary fashion event that stole the limelight at Paris Fashion Week on Monday evening. Contrasting the recent headlines of a World War II bomb discovery near Gare du Nord, the stylish exhibition by designer Nicolas Ghesquière unfolded at a location just across the street. Here, the only bursts were those of vibrant fabrics, innovative forms, and a whirlwind of imagination. As Ghesquière took his bow, the audience showered him with admiration, prompting French first lady Brigitte Macron to rise to her feet and express her approval with a kiss.
Set in the mysterious “L’Étoile du Nord,” the event was described by Louis Vuitton as a hidden station blending past and future travelers, celebrating the golden days of railway adventures. This historical 1845 edifice, initially constructed for the Compagnie du Nord railway’s offices, provided a befitting backdrop, metamorphosed into an opulent train station lobby. The setting beautifully echoed the themes of travel, anticipation, and adventure—core to Louis Vuitton’s identity.
Front-row guests, including stars like Emma Stone, Jennifer Connelly, and Ana de Armas, were captivated by shadows projected across the upper windows, simulating ghostly journeyers from a bygone era. This homage to Vuitton’s origins during the age of the Orient Express and haute couture was fitting, echoing a time when elite women traveled with an array of stylish cases for their extensive wardrobes.
On the runway, Ghesquière narrated tales of both real and fantasy train stations, dressing passengers for unspecified ventures. The collection featured detectives in trench coats, campers in bold New Wave sweaters, and party-goers in ruched velvet pursuing last-minute trains. Known for his cinematic fashion sense, the designer drew inspiration from various film genres, encompassing mysteries, fantasies, and comedies.
One featured ensemble—a voluminous, cascading tulle skirt in deep fuchsia—represented Ghesquière’s knack for blending historical and modern styles, paired with a contemporary architectural knit top and slicked-back hair, hinting at a futuristic flair.
Despite its narrative richness, some styling choices occasionally veered off track. One such look—a massive fisherman’s hat that nearly obscured the model’s vision, coupled with a draping scarf, an undefined dress, and a belt buckle awkwardly placed above the bust—elicited surprise even from seasoned fashion critics.
Some pieces were mesmerizing, while others seemed misplaced, like passengers aboard an incorrect train. While fluid, translucent trenches and inventively structured jumpsuits stood out, certain pieces felt excessively layered, lacking the finesse of artful chaos.
In an innovative collaboration with electronic music legends Kraftwerk, a distinctive capsule captured Vuitton’s travel legacy intertwined with the band’s interpretation of movement and modernity. ‘Trans-Europe Express’ adorned pinstriped jumpsuits and accessories, echoing the rhythmic journey motif. In a nod to precision akin to travel and fashion, Vuitton resurrected its 1988 ceramic-bezel watch.
As the final model vanished from the train station setup, speculation lingered: Is Ghesquière nearing the end of his brilliance after 11 years leading Vuitton’s creative vision? Perhaps not yet, but this season’s journey, while evocative, sometimes felt directionless, hinting that his creative odyssey might be searching for new horizons.
