It takes some confidence to shut down a 14th century fortress and now-certified UNESCO World Heritage site, as Louis Vuitton’s creative director Nicolas Ghesquière did last night for his Cruise 2026 show. But then again, when you’ve spent over a decade at the helm of the world’s biggest luxury fashion house, you can afford to dream big. After all, that’s quite an achievement in an industry currently witnessing so many designer shake-downs (the latest of which relating to Pierpaolo Piccioli and Balenciaga) it’s beginning to resemble a very glamorous game of musical chairs – just with much, much higher stakes.
For the comfortable-but-never-complacent Nicolas Ghesquière, then, annual Cruise shows are a chance to reinforce the brand’s heritage and indulge his personal love of architectural wonder. Palais des Papes – the largest Gothic building of the Middle Ages and home to six papal conclaves throughout the 1300s – delivered both. A place of huge cultural significance in Provence, Ghesquière had visited it the summer of 2000 for Festival d’Avignon and seen a series of contemporary artists, including a performance by Bjork, take place in the palace’s historic amphitheatre. The stage was set for a Louis Vuitton takeover, quite literally. ‘Fashion, all the more so today, is theatrical too — a spectacle and performance aspect. To show in this setting truly means taking the stage,’ Ghesquière told Grazia.
Working with artist Es Devlin, Ghesquière flipped the traditional fashion show on his head by seating the guests on stage while leaving rows of red-chaired tiers around the stage empty – until the spectacular finale, that is, when the models took their places in the stalls looking down at the guests below. ‘Who is watching whom? It brings yet another perspective to the scene,’ said Ghesquière.
It was a clever touch, particularly when the front row of a Louis Vuitton show brings almost as much excitement as the clothes. Ghesquière’s gang of girls were all represented: Sophie Turner and Alicia Vikander at one end of an ornate wooden pew that made up the front row, Emma Stone, Saoirse Ronan and filmmaker Ava DuVernay at the other. In between was long-term Ghesquière disciple Cate Blanchett, who dug around in her wardrobe to rewear one of her favourite looks: leather trousers and a draped blouse with embroidered trim.
As the first model hit the smoke-filled runway in a patterned minidress that resembled a suit of armour, it was clear how much the location had influenced the collection. This was Medieval-Core. Sculptural caped-dresses that wouldn’t have been out of place at a jousting match appeared to a soundtrack of horses hooves galloping; brocade dress-coats that looked like tapestries came trimmed with faux fur cuffs and collars; velvet jackets and party minis came in jewel colours, accessorised with ornate scarves that were whipped up by the wind. Open-toed gladiator boots came studded and covered in shards of glass; nods to chainmail were everywhere: most obviously embellishing knitwear, most beautifully in a series of maxi gowns that had the A-list lifting up their phones to photograph.
‘Sometimes you need fairy tales and legends in your life,’ Ghesquière had said backstage of wanting this collection to empower women. ‘It is very much a reflection on the role clothing plays. Onstage, it takes on the full dimension of theatre, projecting an image and charisma, accentuating a style and character. It accompanies, supports and empowers.’
Whilst the Hollywood elite – who have shown how important Ghesquière’s clothing is this month in Cannes – to command presence on red carpets will welcome this, the designer says there’s a lesson for us all here. ‘The theatricality of clothing is a fascinating subject, and stage presence offers an inexhaustible source of inspiration. It brings an added aura. But whether the clothing is for everyday or a spotlight, it conveys a measure of confidence, assurance or reassurance, a clue about one’s personality.’ Which is why, pick apart the theatrical pieces, and you also saw plenty of leather jackets, silver-flecked knitwear and jackets for the non-medieval Louis Vuitton woman to wear on the street when it hits in November.
No wonder that, as the models took their seats for the finale, the audience rose to give a standing ovation. As Ghesquière took in the applause, Brigitte Macron, France’s First Lady, broke ranks to give him a celebratory hug, paying homage to the saint of French fashion. The message? Catholics may have the Pope; France has Nicolas Ghesquière. Long may he reign.
Hattie Brett's first job in journalism was editorial assistant of Grazia – and in 2018, she returned to the brand as Editor-In-Chief. That means she oversees all the editorial content, across print, digital and social. She loves campaigning on issues that really matter to her audience, for example calling on the governmentto hold an inquiry into the cost and accessibility of childcare. Her work commissioning, editing and creating content for Grazia's woman across everything from fashion to interiors and politics, won her BSME Editor of the Year in 2022. Prior to her current role, she has worked in women's media for almost 20 years, launching and editing a website for millennial women The Debrief before working as Deputy Lifestyle Director at The Telegraph across fashion, beauty and luxury.