Train stations and platforms evoke a variety of memories—joyful reunions, difficult farewells, daily commutes, and for a select few, luxurious voyages on the Orient Express. Nicolas Ghesquière incorporated these experiences, along with numerous cinematic references, including Agatha Christie-style mysteries, into his Fall 2025 collection for Louis Vuitton. The runway featured an eclectic mix of characters embarking on different journeys, including service crew members clad in distinctly 1980s-style uniforms.
Ghesquière’s avant-garde designs often evoke mixed reactions, but this collection introduced a sense of playfulness. The designer presented an array of storylines, much like the endless railway tracks, creating ensembles inspired by the diverse personalities one might encounter at Grand Central, St. Pancras, or even on the silver screen. The collection showcased attire suited for a yoga instructor, a private detective, outdoor enthusiasts, partygoers, and even a character reminiscent of Marilyn Monroe’s ukulele-strumming performance in Some Like It Hot.
In a preview interview, Ghesquière emphasized the importance of storytelling in contemporary fashion, explaining that the train station theme provided ample inspiration for a collection that aligns with Vuitton’s travel-centric heritage. Seeking inspiration, he consulted his design team for their favorite train-themed films, which yielded a variety of references, including Brief Encounters, 2046, That Obscure Object of Desire, Snowpiercer, and Harry Potter and the Sorcerer’s Stone.
Speculation had circulated throughout the week that the show’s location might be Gare du Nord, possibly aboard a real train, echoing past large-scale productions by Dior and Louis Vuitton. Instead, the venue was situated near the historic Paris train station, in the courtyard of a former office building once owned by a private railway company controlled by the Rothschilds. Ghesquière, in collaboration with stage designer Es Devlin, transformed the space into a sleek waiting room that, in photographs, bore a resemblance to a Thomas Demand artwork. The setting featured hard seats, cold lighting, and monitors replacing traditional windows, displaying images of travelers moving through the station. Instead of typical announcements or background music, Kraftwerk’s Trans Europe Express played before the show, hinting at a capsule collection of apparel and leather goods created in collaboration with the pioneering electronic band from Düsseldorf. One standout piece was a pin-striped jumpsuit featuring album artwork on the back.
With 60 different looks, the collection featured a broad range of styles. Technical performance outerwear, ruched velvet skirts, cargo shorts, oversized New Wave sweaters, and sculptural ruffled skirts were all part of the mix, though not always in perfect harmony. The long, fluid pieces stood out amidst the fast-paced presentation, including translucent trench coats made of rubberized fabrics, floral slip dresses, and loosely draped gowns in flocked velvet. Unexpected elements included buffalo plaid blankets repurposed as dresses or cozy tops, with some models carrying additional blankets, hat boxes, violin trunks, or vintage-style vanity cases in 1950s-inspired colors.
During the preview, Ghesquière also highlighted several notable accessories, including re-editions of silk squares designed by Sol Lewitt, Andrée Putman, César Baldaccini, Richard Peduzzi, and Jean-Pierre Raynaud. Additionally, Louis Vuitton is set to reintroduce its first watch featuring a ceramic bezel, originally designed by Gae Aulenti in 1988—an ideal accessory for anyone keeping an eye on the departure board.
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