Nicolas Ghesquière conjured pure theatrical magic at Palais des Papes on May 22, delivering a Cruise 2026 collection that transformed medieval references into contemporary armour for the modern woman. Against the soaring Gothic architecture of Avignon’s papal palace, the designer presented what he called “women’s armour for everyday life”—and the description couldn’t have been more apt.
The collection opened with Australian model-of-the-moment Julia Nobis in a deconstructed knight’s uniform, setting the tone for a collection where Arthurian legend met glam-rock rebellion. Ghesquière’s medieval vision wasn’t costume drama but pure fashion alchemy—extravagant tunics with intricate embellishments, gathered capes that billowed with purpose, and soft Joan of Arc dresses in metallic jersey that caught the golden-hour light streaming through the palace windows.
Texture was everything. The designer went wild with unusual materials and craftsmanship techniques borrowed from manuscript illumination—that gilded 3D embellishment traditionally found on rare book covers. Alma bags emerged as wearable artworks, their surfaces decorated with the same precious attention medieval scribes lavished on sacred texts. The collection’s rich, often metallic fabrics created a sartorial tapestry that felt both ancient and futuristic.
As with most LV shows, the accessories stole the show. Open-toed, sock-like booties were emblazoned with mirrors and precious materials, while leather cavalier boots bore countless silvery grommets that caught every flicker of light. Caps crafted from raffia added unexpected texture, while wood-framed handbags—created in collaboration with 30-year-old Alsatian craftsman Thomas Roger—brought artisanal authenticity to the medieval narrative.
Silhouettes balanced past and present masterfully. Short skater skirts and knitted hot pants grounded the collection firmly in contemporary territory, while the colours and motifs drew directly from artworks and decorations found in the papal bedroom itself. Simple pea coats provided modern counterpoints to the collection’s more theatrical moments, and leggy skirt suits offered sophisticated options that wouldn’t look out of place in today’s power corridors.
The knitwear deserved special mention—Ghesquière manipulated jersey and knits until they became virtually unrecognisable, creating pieces that looked more like medieval chainmail than contemporary sportswear. The demonstrative approach to these humble materials elevated them into high-fashion statements worthy of the palatial setting.
Set designer Es Devlin’s contribution proved crucial to the collection’s impact. Her tiered red velvet theatre seats, left pointedly empty, placed the audience where performers would traditionally stand during the city’s famous summer festival. This perspective reversal reinforced Ghesquière’s theme of fashion as performance, with each look serving as a costume for life’s daily dramas.
The front row’s stellar cast—including Cate Blanchett, Emma Stone, Saoirse Ronan, Catherine Deneuve and Alicia Vikander, many fresh from Cannes—provided the perfect audience for this theatrical tour de force. Their presence underscored the collection’s central thesis: that fashion, like theatre, transforms the wearer into something larger than life.
See all the highlights from the Louis Vuitton Cruise 2026 show below. You can watch the show here.
Related stories
Native ad body.
Native ad body.
Native ad body.
