When you’re the biggest brand in the world, how do you continue to level up and outdo yourself? For Louis Vuitton, the answer may be in Spain. The megabrand staged a takeover of the iconic Parc Güell in Barcelona, the Gaudí masterpiece of a park situated atop a hill overlooking the city, with a focus on symmetry and organic forms. A-list guests including Sophie Turner and the Haim sisters sat front row on benches in the Hypostyle Room, the centerpiece of the UNESCO World Heritage Site, where Doric columns uphold a mosaic-tiled ceiling that reflects the natural colors of the country’s rich ecosystem. It was the ultimate setting for the cruise 2025 collection.
Creative director Nicolas Ghesquière might be the busiest man in fashion—since the start of the year, the designer has shown at Paris Fashion Week to celebrate his 10th year at helm of the house and recently debuted his pre-fall 2024 collection in Shanghai. The opening look of the latest show was a minidress rendered in a woven wool resembling natural fibers, with a crisp white lapel. What could be an otherwise average piece was taken firmly into 2024 with Oakley-esque reflective sunglasses, sharp-toed biker boots, and a flat-brimmed boater hat fit for Beyoncé.
The opening look of Louis Vuitton cruise 2025.
With this assortment, Ghesquière attempted to look at all facets of Spanish life, from the rich history of the matadors to the flamenco tradition. Swishing dresses made of delicate flowers stitched together recalled folk ensembles. Gaudí’s ever-inspiring work showed up in geometric prints on flouncy cotton pants and in the shiny sequins mirroring his signature mosaics that adorned minidresses with exaggerated sleeves. Textural elements added life and depth—think: fringed, plaid tweed on cut-out maxi dresses and gray lacquered straw hats. The tans, grays, and blacks juxtaposed well with the striking reds, greens, and blues often seen in the Catalan architect’s palette.
Yeti-inspired footwear.
Standout accessories were undoubtedly the Yeti-inspired shoes, which mirrored the fringed gloves Ghesquière sent down the runway for fall/winter 2024. The last sequence of looks were draped, gathered, and bold, cinched low or high with large black and white leather belts. The dramatic pleating on flamenco-style dresses appeared sensual without being costume-y. Instead, it was a great example of a designer riffing on history and making it his own. All in all, cruise 2025 was 100 percent Ghesquière with a sprinkle of Spain—totally modern yet rooted in classicism, not unlike Gaudí’s approach to creating pieces that last a lifetime.