Just days after an unexploded World War II bomb near Paris’ Gare du Nord made headlines, a different kind of spectacle unfolded across the street: Louis Vuitton’s fashion show extravaganza on Monday evening.
The only bursts of excitement at Paris Fashion Week came from fabric, form, and a whirlwind imagination. When designer Nicolas Ghesquière took his bow, the audience’s admiration reached a fever pitch, with French first lady Brigitte Macron, in a rare display of enthusiasm, leaping to her feet to kiss him.
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A station full of mystery The show took place at "L’Étoile du Nord," described by Louis Vuitton as "a hidden station where past and future travelers converge, evoking the golden age of railway adventure." The event was held in the historic 1845 building, originally designed for the Compagnie du Nord railway company. Its atrium was meticulously transformed into a grand train station waiting room for the ready-to-wear show, reinforcing the themes of travel, anticipation, and adventure — central to Vuitton’s identity.
From their front-row seats, Emma Stone, Jennifer Connelly, Ana de Armas, Chloë Grace Moretz, Lisa, Jaden Smith, Ava DuVernay, and Sophie Turner watched attentively as projected shadowy figures drifted across the upper windows, like ghostly travelers from another time. This evoked Vuitton’s origins at the dawn of the Orient Express and haute couture, when wealthy women needed to bring numerous cases to store their extensive traveling wardrobes.
On the runway below, Ghesquière wove a story of train stations, both real and imagined, styling passengers for unknown journeys. There were detectives in trench coats, campers in chunky New Wave sweaters, and party girls rushing to catch the last train in ruched velvet. Ghesquière is renowned for his cinematic styling, drawing from a vast range of film influences—whodunnits, fantasies, and comedies.
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In other instances, a voluminous layered tulle skirt in deep fuchsia captured Ghesquière’s knack for blending different centuries, paired with a contemporary architectural knit top and sleek, futuristic hair.
When the tracks got bumpy However, while the narrative was rich, some of the styling occasionally veered off course. One look, in particular, featured a hybrid fisherman’s hat so oversized it nearly obscured the model’s vision, paired with an enveloping scarf, shapeless dress, and a horizontally placed belt buckle above the bust, which made even seasoned fashion insiders raise an eyebrow.
While some outfits were exciting, others felt like mismatched passengers on the wrong train. While fluid, translucent trenches and cleverly constructed jumpsuits stood out, some pieces seemed overcomplicated, leaning more toward hurried layering than artful disarray.
Fashion on a synthesized beat A notable collaboration with electronic music pioneers Kraftwerk merged Vuitton’s travel legacy with the band’s vision of movement and modernity. 'Trans-Europe Express' was emblazoned on pinstriped jumpsuits and accessories, reinforcing the rhythm of the journey. Additionally, Vuitton revived its 1988 ceramic-bezel watch, nodding to precision in both travel and design.
As the last model exited the train station set, a question lingered: Has Ghesquière lost his spark after 11 years at the helm? Perhaps not yet, but this season’s journey, while evocative, didn’t always have a clear final destination.