For SS26, Nicolas Ghesquière staged the Louis Vuitton show in the gilded intimacy of Anne of Austria’s summer apartment at the Musée du Louvre – a setting steeped in royal history and grandeur. Beneath painted ceilings and timeworn tapestries, Ghesquière conjured a dialogue between eras: the courtly and the contemporary, the ornate and the engineered.

A spoken-word rendition of Talking Heads’ This Must Be the Place, performed by Cate Blanchett, opened the show: “Home is where I want to be…” A line that carried. Because this collection was all about home – not as a fixed geography, but as a state of being. Ghesquière has long been a designer obsessed with the architecture of clothing, how a silhouette holds its shape, how a garment occupies space. But this season, structure was unpicked. What emerged in its place was comfort. Knit bermudas, slipper-like shoes and robe coats. Technical sportswear was crafted like silk, and sculptural knitwear cocooned the body. Yet for all this softness, the collection never slouched. This wasn’t about lounging in sweatpants – it was about sweeping down staircases in sequinned fringe.

The collection moved effortlessly between worlds: ornate florals and embroidery met sci-fi pointed collars; bodices bloomed like gardens, exquisite beadwork shimmered like far-away galaxies, and beaded fringe drew landscapes in motion. For a house founded on the idea of travel, this felt less like a flight across continents and more like a voyage through constellations, grounded by an incredible curation of design: 18th-century chairs by Georges Jacob, 1930s Art Deco pieces by Michel Dufet, and sculptural ceramics by Pierre-Adrien Dalpayrat. Together, these formed a home not of nostalgia, but of timeless imagination.