Louis Vuitton opened its fall/winter 2025 show with the sound of an engine revving and flashing lights. Models raced down the runway in a venue set up to resemble a train station, dreamed up by set designer Es Devlin. According to the collection notes, the structure was meant to represent a commuter area where “fleeting moments are shared amongst strangers, weaving a tapestry of stories.” Only these travelers looked like they came from a distant land that defies time, space, and conventional style ethos.
As a house that constantly references travel as its starting point for all things aesthetically, the latest showing came as no surprise. Models wound through the runway wearing creative director Nicolas Ghesquière’s very particular brand of futuristic, ’80s-inspired silhouettes that reject trends. There were sheer rain jackets, leather cargo Bermuda shorts, bejewelled yoke velvet dresses, neck ruffs, and buffalo plaid black and white capes.
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Blink-and-you’ll-miss-it details were all there, and felt like a nod to personal style and layering on the go. Models carried big bags and kept their hands in the pockets of their massive jackets. Blanket scarves were carried over the arm. Thigh-high socks were paired with ankle booties, scarves were punctuated with logo monogram pockets, henley button-down tops and casual shirts were accented with crystal embellishments. And there were statement hats galore. From exaggerated bucket toppers to leather baseball caps, ultra-wide brims and little sculptural berets, the accessory stood strong as one of the biggest style statements of the collection. The bag that closed the show was shaped like a Parisian street light. And with the recent news that Pat McGrath is launching a beauty line for Louis Vuitton, one face was painted with striking colour block New Wave-era contour, perhaps a hint as to what’s to come from the visionary beauty legend.
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Other wardrobe heroes that might normally fade away as everyday artefacts were given main character status. Think: Thick black leather belts cinching tiered tulle dresses or the humble weekender duffle bag on full display. Big chunky bangles had elements of mid-2010s maximalist style à la Man Repeller’s trademark arm party. Blazers were transformed with thick, big shoulders and square silhouettes.
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The highlight was undoubtedly the final walk, when models lined the building facing the main runway, posing against the windows. It was reminiscent of Ormond Gigli’s infamous 1960 “Girls in the Windows” photograph. Much like the collection, each woman in the legendary image wore a different outfit and held a different pose, alluding to whatever their perceived personality might be. One thing is clear from Louis Vuitton come fall: We’re in the era of wearing our feelings on our sleeve. After all, in a post-quiet luxury world of minimalism, dressing up feels more soul-affirming than ever before, and daring to dress with personality somehow feels like a small act of rebellion.
This article was first seen on ELLE US.