On a quiet Tuesday in Paris, when the Louvre is usually shuttered to the public, Nicolas Ghesquière unveiled Louis Vuitton’s Spring/Summer 2026 women’s collection. The setting was the freshly restored summer apartments of Anne of Austria, Queen of France, transformed for the occasion into a dialogue between history and the present.
Steeped in layers of history, the venue carried its own narrative. Rooms adorned with 17th-century frescoes, marble floors, and arched windows that framed the Parisian sky in gilded geometry became the backdrop for Ghesquière’s latest exploration of form and fantasy.
Ghesquière, long revered for futuristic rigour and architectural silhouettes, turned inward this season, embracing plushness, reveling in tactility, and exploring the quiet rituals of home. There were coats that could double as bathrobes, sweaters with teddy-bear nap, and simple dresses cut like swathes of fabric wrapped spontaneously around the body. Socks–yes, socks–peeked out from brocade sandals, a wink at the pleasures of dressing for nobody but oneself.
This was not a retreat into nostalgia. Instead, Ghesquière found a reverberation in the multiplicity of the space itself – a palimpsest of 17th-century ceilings, 19th-century marble, and 1930s red stucco walls. His clothes responded in kind, merging the familiar with the fantastical. One could glimpse echoes of royal portraiture in a gauzy camisole-and-robe ensemble, or the sly geometry of mid-century interiors stitched into trouser seams.
Like the rooms themselves, the collection was an act of collage: unbound to a single time, genre, or gender archetype. Corseted waists conversed with oversized satin shorts; feathered collars evoked both bourgeois trim and avant-garde plumage. Ghesquière’s imagination here was not escapist – it was domestic surrealism, revealing the strangeness already latent in the objects and rituals of home.
So, what does it mean when one of fashion’s most future-fixated designers turns inward, toward the hearth? Perhaps it is a provocation: that in an era of constant visibility, the most radical gesture is to dress for oneself, to reconsider the home not as a retreat from glamour, but as a site of creativity, eccentricity, even decadence.
What is certain is that Ghesquière once again demonstrated his ability to collapse time, weaving centuries and sensibilities into a wardrobe that felt strangely universal.
Spring/Summer 2026 at Louis Vuitton was less about fantasy than about clarity – luxury distilled into craft, texture, and presence. Rather than reaching for distant futures or revisiting imperial pasts, Ghesquière anchored his vision in the immediacy of now: elegance that feels lived, embodied, and modern.