In a recent interview with Vogue, Louis Vuitton’s Women’s Artistic Director Nicolas Ghesquière declared, “I don’t think anyone who isn’t willing to take risks with their aesthetic, in any season, can truly be said to be fighting in the world of fashion.” These bold words perfectly capture the spirit of his Spring-Summer 2025 collection, a remarkable culmination of his 10-year tenure at the helm of Louis Vuitton.
This season, Ghesquière embarked on a journey back in time, finding inspiration in the Renaissance era. His personal connection to the Loire Valley in France, a region where centuries-old chateaus still stand, made this era a deeply resonant choice. The collection opened with six looks centered around jackets, featuring puff sleeves, cinched waists, and peplum hems that exuded Renaissance charm. Yet, these classic elements were seamlessly integrated into modern styles, thanks to the inclusion of biker shorts, chunky leather sandals, and a fluid silhouette that was decidedly contemporary. The same designs, if crafted in the Renaissance era, would have been far heavier.
Ghesquière is known for his ability to imbue structure and form with lightness and fluidity. As he explained, “The challenge was to see how the two ateliers, ‘flou’ and ‘tailleur,’ could work together. They cross all boundaries. It’s a paradox. To make something light that is so heavily detailed and structured.”
Following the opening looks, the collection presented a flow of riding pants paired with oversized blousons, drop-waist ribbed knit dresses, and coats with a remarkably blouse-like lightness. Achieving this blouse-like feel in a coat was a significant challenge for the team. “The silk fabrics are so airy,” Ghesquière noted. “I really wanted to make pieces that are hard to categorize.”
The lines between daywear and evening wear blurred, with loose-fitting tops adorned with lavish embellishments like scattered cabochons. The highlight of the show came towards the end with three striking jackets. Inspired by the work of French painter Laurent Grasso, these jackets incorporated elements from his series “Studies into the Past.” Grasso’s paintings, which reimagine modern celestial and atmospheric phenomena with a Renaissance touch, made for a truly harmonious artistic collaboration.
Ghesquière also spoke of another challenge he had set for himself: creating a “trans-generational bag.” This bag, meant for everyday use and with a casual sensibility, presented a stark contrast to the grandeur of the garments. Featured in the first two looks, this bag epitomized Ghesquière’s commitment to risk-taking. It lacked the imposing strength often found in Louis Vuitton bags, instead radiating a soft power that Ghesquière had meticulously sought.
