Louis Vuitton's Cinematic Take on Travel Has A Lot of Celebs and Some Bumps Along the Way

On the runway below, Ghesquière spun a narrative of train stations both real and imagined, styling passengers for journeys unknown. There were detectives in trench coats, campers in bulky New Wave sweaters, and party girls rushing for the last train in ruched velvet. The designer has long been a master of cinematic dressing, pulling from a rolodex of filmic inspirations-classic whodunnits, fantasies and comedies.

Elsewhere, a voluminous, cascading layered tulle skirt in deep fuchsia channeled Ghesquière's penchant for fusing styles of different centuries, juxtaposed with a contemporary architectural knit top and futuristic slicked-back hair.

When the Tracks Got Bumpy

But while the story was rich, the styling was, at times, derailed. One look in particular - a fisherman's hat hybrid so oversized it nearly blinded the model, paired with an enveloping scarf, amorphous dress, and a horizontal belt buckle haphazardly above the bust - caused even seasoned fashion insiders to raise an eyebrow.

Some ensembles were thrilling; others felt like passengers on the wrong train. While fluid, translucent trenches and cleverly constructed jumpsuits stood out, other pieces veered toward the overworked. Layered-on haste rather than artful dishevelment.

Fashion on A Synthesized Beat

A standout capsule with electronic music pioneers Kraftwerk fused Vuitton's travel heritage with the band's vision of movement and modernity. 'Trans-Europe Express' appeared on pinstriped jumpsuits and accessories, reinforcing the rhythm of the journey. Fittingly, Vuitton revived its 1988 ceramic-bezel watch, a nod to precision in both travel and design.

As the last model exited the train station set, a question loomed in the air: Has Ghesquière himself run out of steam after 11 years at the helm? Perhaps not yet but this season the journey, while evocative, didn't always have a clear final destination.