Latest news with #NicolasGhesquière
Vogue
6 days ago
- Entertainment
- Vogue
Emma Stone and Nicolas Ghesquière's Real-Life Friendship Takes Center Stage in Vogue's September Issue
What better time to try something larger than life than the September issue? For Nicolas Ghesquière, that meant creating a miniature Louis Vuitton collection of couture-like caliber, exclusively for Vogue. And who better to wear these one-of-a-kind garments than our cover star, and the designer's longtime friend, Emma Stone? 'Whatever he does is special and surprising and exquisite,' Grace Coddington, the shoot's fashion editor, says of Ghesquière, 'but this was somewhat on another level because it was couture, which is something he hasn't tried before.' While Ghesquière worked closely with Vogue to bring the looks to life for Stone's Avignon shoot, the looks came, as Coddington puts it, from 'him and a dream.' Ghesquière created six distinct, handcrafted looks for Stone's cover shoot—six different characters for her to embody. 'Who will this be?' asks Stone, dressed in a beaded, high-neck dress with draped, wing-like sleeves. 'The idea was to imagine she was a charismatic leader of a ballet academy,' Ghesquière says of the dress, aptly dubbed 'The Ballerina.' 'She is a great dancer,' he adds of Stone, 'I wanted to express that in the movement.' Also among the duo's roster of characters: 'The Driver,' a leather jumpsuit meant for boundary-breakers, which Stone wore to galivant on the roof of the Palais des Papes; 'The Innocent,' a knit jumpsuit with tiers of ruffles, represents Stone's open-hearted approach to acting, namely her Oscar-winning role as Bella in in Poor Things; 'The Host' a black playsuit with a sculptural sweetheart bust, casts the actor as the host of an imaginary cabaret, inspired by Ghesquière and Stone's real-life friendship. For the pair, the shoot is a full-circle moment, another chapter in their long history. 'The things that he's designed took me through my wedding day, took me through big moments in my life,' Stone says of her long friendship with Ghesquière. 'It feels like I always get to have a piece of him with me.' Watch on as we go behind the scenes of Emma Stone's September cover shoot. Director: Nikki Petersen Interviewer: Chioma Nnadi Directors of Photography: Louise Bernard Pallas, Fyras Slaiman Editors: Katie Wolford, Evan Allan Creative Producer: Gabrielle Reich Associate Producer: Lea Donenberg Associate Producers, On Set: Megan Sinanis, Virginie Kateeb Gaffer: Sylvain Gabayet Audio: David Amsalem Albertini Production Coordinator: Tanía Jones Production Manager: Kristen Helmick Line Producer: Natasha Soto-Albors Assistant Editor: Andy Morell Post Production Coordinator: Holly Frew Colorist: Oliver Eid Supervising Editor: Kameron Key Post Production Supervisor: Alexa Deutsch Entertainment Director: Sergio Kletnoy Executive Producer: Rahel Gebreyes Senior Director, Video: Romy van den Broeke Senior Director, Programming: Linda Gittleson VP, Video Programming: Thespena Guatieri Images Courtesy Of: Joan Marcus, Irving Penn Cover Photography By: Jamie Hawkesworth
Vogue Singapore
01-08-2025
- Entertainment
- Vogue Singapore
Louis Vuitton's fall/winter 2025 collection is an ode to the modern voyager
A tribute to the modern voyager—for Louis Vuitton's fall/winter 2025 collection, Nicolas Ghesquière revisits the house's travel-inspired heritage in a way that feels both cinematic and culturally resonant. Louis Vuitton's fall/winter 2025 collection nods to the spirit of travel with utilitarian-meets-chic ensembles. Courtesy of Louis Vuitton The show took place at a secret location: L'Étoile du Nord, a rich, historical space tucked next to Gare du Nord, one of Paris's busiest train stations. Once the headquarters of a 19th-century train company, the venue was transformed to resemble a grand station platform. It was the perfect backdrop for a collection that celebrates the beauty of being in transit. The line-up sees comprises of bold, vibrant silhouettes complemented by embellished knit sweaters and plaid pieces. Courtesy of Louis Vuitton And in true Louis Vuitton fashion, the symbiosis of style and music was at the heart of it all. For this season, the maison collaborated with pioneering electronic band Kraftwerk, specifically referencing their Trans-Europe Express album—a tribute to the golden age of rail travel through a modernist lens. The album cover appears on some of the looks, with its title quietly anchoring the spirit of the designs. Voluminous ruffled skirts add a distinct layer of character to the utilitarian collection. Courtesy of Louis Vuitton The collection also pulled from a range of train-inspired films, handpicked by Ghesquière's team themselves. Titles like 2046 , Snowpiercer , Casablanca , Brief Encounter , Harry Potter , and Murder on the Orient Express all made the cut. These references translated into a dynamic cast of characters: city dwellers, lone adventurers, daily commuters—each look representing a different persona and story, almost like snapshots from different stations in someone's life. Draped dresses, tailored silhouettes, and thigh-high socks styled with boots tie into the collection's modern voyager theme. Courtesy of Louis Vuitton As for the looks themselves? It was utilitarian meets chic in the best way possible. An eclectic palette that felt like voyagers heading in every direction, from laid-back layering to sharp, tailored moments with a hint of formality. Think city-country mix looks comprising of fishing trip blanket coats, velvet dévoré dresses, sporty commuter jackets, and train attendant ties. Leather cargo shorts, ruffled velvet dresses, and vivid belts add a depth of texture to the range. Courtesy of Louis Vuitton Silhouettes were also reminiscent of the '80s, coupled with plaid capes, embellished knit sweaters and bejewelled yoke dresses. Translucent rain jackets, leather cargo shorts, and voluminous ruffled skirts also added an audacious edge to the line-up of ensembles. Accessories take the spotlight with soft-sided bags reimagining the classic Louis Vuitton travel gear. Courtesy of Louis Vuitton The accessories stayed true to the house's DNA, with the show spotlighting soft-sided travel bags—a nod to the maison's legacy of designing for the journey. There was the familiar Keepall, but also a fresh, reimagined silhouette: L'Express, crafted in soft tones and clean lines. And the extras pulled no punches—chunky bangles, boots paired with thigh-high socks, sculptural belts, as well as statement hats of every kind: exaggerated bucket styles, leather baseball caps, wide brims, and miniature berets. A medley of tailored and effortless pieces, the collection reimagines travel-inspired looks through a modern lens. Courtesy of Louis Vuitton In the end, this wasn't just another dreamy, escapist show. Ghesquière used travel as a lens to reflect on identity and culture by storytelling through contemporary, wearable designs. It was cinematic, yes—but also practical and beautifully grounded in reality and tasteful commute. For more information, visit Louis Vuitton.
Graziadaily
23-05-2025
- Entertainment
- Graziadaily
All Of These Mega A-Listers Just Went To This Incredible Louis Vuitton Show
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.' Cate Blanchett at the Louis Vuitton Cruise 2026 show 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.
LeMonde
23-05-2025
- Entertainment
- LeMonde
Louis Vuitton and the Avignon mademoiselles
Louis Vuitton made a stop in southern France for its latest Cruise show. On the evening of May 22, the house staged its 2026 Cruise collection in the Cour d'Honneur of the Palais des Papes in Avignon. This was the first time this monumental Gothic building, whose construction began in 1335 and which was listed as a UNESCO World Heritage Site in 1995, hosted a fashion show. The choice did not please everyone. Several groups staged demonstrations in front of the monument on the afternoon of Saturday, May 17, holding up placards. Led by the CGT Spectacle (the entertainment branch of the labor union), Extinction Rebellion and Attac, protestors raised concerns about the working conditions of the contract workers involved in the show, as well as the environmental damage caused by the event. The privatization of the surrounding neighborhood for several days before the show also heightened tensions. However, the event offered benefits to both the region and the city. Beyond the global spotlight such an event brings to the chosen venue, it generated real economic impact. More than 2,000 hotel rooms were booked for the two days of festivities, accommodating the brand's teams, technicians and 450 guests. Louis Vuitton also pledged to help fund the Palais des Papes's new lighting project, approved by the municipal council in September 2024 and estimated at €2 million. The choice of the Palais des Papes continued Nicolas Ghesquière's fascination with unique architecture. The creative director of the house's womenswear collections has previously staged cruise shows in visually striking venues: in France, at the Axe Majeur in Cergy-Pontoise (in the Paris region) in 2021 and the gardens of the Fondation Maeght in Saint-Paul-de-Vence (on the Riviera) in 2018. Abroad, he has chosen the Museu de Arte Contemporânea de Niterói, designed by Oscar Niemeyer in Brazil in 2016; the Miho Museum by Chinese-American architect Ieoh Ming Pei in Japan in 2017; and the modernist estate of actor Bob Hope (1903-2003) in Palm Springs, California, in 2015. "The Palais des Papes is an extraordinary place. I have been thinking about it for a show for a long time. There are so many historically rich places in France; we don't always need to seek out far-flung destinations. When I returned there some time ago with my partner [the American actor Drew Kuhse], I saw such amazement in his eyes! As French people, we sometimes forget that these places exist here at home," the designer said just minutes before the show began. High, supple boots Cruise collections are not just an opportunity to inspire and transport clients. The stakes for these mid-season lines are significant: They remain on store racks the longest, sometimes for up to eight months, making them more important for sales than other collections. The financial crisis currently facing the luxury industry has spared none of its key players, not even leaders. LVMH's net profit dropped 17% to €12.6 billion for the 2024 fiscal year. "This collection was inspired not only by the history of the venue, which evokes the chivalric and medieval eras, but also by the idea of stage and performance. Avignon is a cradle of fantastic culture. I have many memories of the festival, when the city suddenly becomes devoted to artists. I saw works there by Bill Viola, Christian Boltanski and Pina Bausch," Ghesquière recalled. Created in 1947 by Jean Vilar (1912-1971), the Festival d'Avignon, held each summer, is one of the world's largest theater and performing arts events. Designed by British artist Es Devlin, the show's set design evoked the concept of spectacle. In the Cour d'Honneur of the Palais des Papes, the audience was seated at the center of a stage, facing rows of empty red velvet stands. The models circled the guests. Among the attendees were actresses Alicia Vikander, Emma Stone and Cate Blanchett, as well as Pharrell Williams – attending as a colleague, as he heads Louis Vuitton's menswear – and France's first lady, Brigitte Macron, a longtime supporter of the brand. The collection, rich in ideas, skillfully blended different worlds and eras. To the song "Excalibur" by William Sheller (1989), medieval and knightly silhouettes appeared in velvet-sequined shift dresses paired with high, supple boots; short capes in felted cashmere patchwork; gleaming jacquard dresses reminiscent of court tapestries; and flowing knit dresses with breastplates covered in silver chains. Stage costumes evoked the spirit of Keith Richards or David Bowie. There was a rock star edge to cropped, zippered leather jackets and suits with metallic blazers or paisley prints. Some pieces, richly decorated and finely crafted, bordered on haute couture, such as short dresses made entirely from embroidered silk petals. By mixing references – historic and contemporary – Ghesquière, known for his love of science fiction, avoided glaring anachronisms by cleverly blurring the lines. While the world of luxury and fashion has never been so unsettled – a dozen new creative directors will debut on the runways in September and October, including Matthieu Blazy at Chanel, the Proenza Schouler duo at Loewe and Pierpaolo Piccioli at Balenciaga – Ghesquière has stayed his course. Appointed at Louis Vuitton in 2013 after 15 years at Balenciaga, he renewed his contract for another five years in 2023. How does he view the changes coming to his competitors? "It's very exciting! Paris Fashion Week is going to be incredibly strong, and that's what we want, isn't it? It's galvanizing!" Absolutely.
Vogue Arabia
23-05-2025
- Entertainment
- Vogue Arabia
A Look at the Louis Vuitton Resort 2026 Collection
Way back in 2000, at the very dawn of the 21st century, Nicolas Ghesquière came to the southern French town of Avignon to visit the historic Palais des Papes, which dates from the 14th century. He was there to see a millennium-themed art exhibition, featuring the likes of a Bill Viola installation and a dance performance from Pina Bausch. All of this took place in what is the biggest medieval structure in Europe, a onetime seat of Western Christianity, but which is now better known as a UNESCO site (celebrating its 30th anniversary of that status this year) and home for many decades to a yearly experimental theater festival. Ghesquière was captivated by the place, which isn't exactly surprising: Magical things tend to happen in his mind when history, culture, and his own particular brand of creativity and intellectual curiosity collide. Now, some 25 years later, here he is, back in town, with his Louis Vuitton 2026 cruise collection: a fantastic 45-look show which offered a masterly meditation on everything from decorative ancient religious tracts to glammy rock stars, medieval heraldic costuming to the myth of Excalibur , with references galore to King Arthur and the Lady of the Lake. I'd have loved to have asked Ghesquière if he thought Nicholas Clay in the 1981 Excalibur movie was as hot as I did, but I managed to hold back. What I do know is this: That the Bausch performance helped him envisage how to show this cruise collection. 'I wanted to put the audience on stage,' Ghesquière said at a pre-show preview. 'This idea of an audience seeing everything from the point of view of the performers. The places I have shown the cruise in the past, like Kyoto, usually have a personal connection,' he went on to say. 'It's rare I ever find a location from scouting. It's always personal, then it goes through this twisted way of mine thinking about fashion [laughs]. When [famed French actor and theater director] Jean Vilar came here in 1947 to perform, he said [of Palais des Papes], 'it's impossible to do theater here, so let's do theater here!' And I love that! I'm not saying it's impossible to do fashion here, but it's the first time that they've done anything like this.' Ghesquière, it has to be said, is no stranger to making the impossible possible. It has rather been a hallmark of his time at the maison for the last 10-plus years: The elevation of the everyday via couture-level artisanal craft and technological experimentation melded into clothes which are deeply rooted in reality; maybe the most inventive and idiosyncratic notion of reality, but a reality nonetheless. It's a wardrobe of leather jackets, artisanal knits, kicky short skirts, flowing dresses, and accessories with plenty of attitude, like this cruise's lavishly embroidered flat peep-toe boots, and the Alma handbag in striped bands of exotic leathers or (be still my beating heart, because this was my personal favorite) with scrolling flowers taken from religious manuscripts dating from the Middle Ages.
