Fashion
Louis Vuitton: Welcome to the new refinement
Published
September 30, 2025
Louis Vuitton, the luxury travel marque par excellence, staged the first major influential show of this Paris Fashion Week on Tuesday, wowing with a refined collection presented inside a royal apartment within the Louvre.
And not just any flat — in fact, the grandiose summer apartment of Anne of Austria, a lavishly finished neoclassical space with views out to the Seine.
All magisterially redecorated, as Vuitton’s women’s creative director Nicolas Ghesquière worked with set designer Marie-Anne Derville to create an apartment that riffed on French taste from the 18th century until today — from a salon to a lounge to a bathroom.
“I wanted the serenity that you feel in the comfort of your own home. Today, you can dress with sophistication at home. It’s not just about wearing jogging pants,” explained Ghesquière in a post-show interview.
And like the apartment, this Spring-Summer 2026 collection was highly eclectic: blending kicky fabric tops, tapestry details, carpet-fabric shoes, and brushed silk — an 18th-century French technique where it begins to look like animal skin.
Though Ghesquière didn’t directly reference Anne of Austria’s wardrobe, there was an air of contemporary courtier about the clothes — from leggings cut like britches, or shirts with aristocratic six-inch collars, to striking lace demoiselle gowns and a magnificent scarlet satin bouffant bubble coat.
All manner of off-the-shoulder togas added to the sense of the event, as did damask dhotis. Paired with short paisley tanks, all suggested an exotic dinner party that would be marvelous to attend.
Adding to a sense of mystery, a major shout-out to the millinery — superb Doges’ miters or Pashas’ turbans. Being Ghesquière, the designer leavened many looks with futuristic sportswear: technical palazzo pants or high-tech sneakers.
Nicolas was clearly influenced by the colors of the queen’s apartment. The rose-checked marble floor was restored in the 1970s; below 17th- and 18th-century frescoes and Egyptian bas-reliefs. And even if he claimed not to be influenced by the wardrobe of Anne — the mother of Sun King Louis XIV — there was a hint of Rubens’ famed portrait of Anne in a diaphanous silk gown with a spiky collar.
“It’s a multicultural proposition,” joked the French designer, attired in his classic dressed-down style — worn black jeans and a pale blue jeans jacket.
Though often grand, the collection was never uptight. Far from it — with perfectly draped body-con gowns and superb tailoring made in soft knitwear.
Whatever else one can say about Ghesquière, he certainly has great imagination — and timing. In a season marked by the demise of quiet luxury and the renaissance of refinement, riffing on a queen’s apartment seemed smart.
Original and highly diverse — just like the set, which blended artist Robert Wilson; Georges Jacob, master cabinetmaker of the 18th century; 1930s Art Deco by Michel Dufet; ceramic sculptures by Pierre-Adrien Dalpayrat; and even furniture designed by Derville herself.
Among which sat all the senior brass of LVMH, owner of Vuitton, the world’s largest luxury brand; a pack of influencers; and several proper movie stars — among them Jennifer Connelly and Emma Stone.
And a sense of empowerment. Like Anne. No slouch when it came to politics, Anne outmaneuvered her rivals to become the sole regent of Louis XIV when he became king aged just four. Then she determinedly suppressed the Fronde — the greatest revolt against the French monarchy prior to the Revolution — doing so with the help of Italian-born Cardinal Mazarin. Then again, LVMH’s patron knows a thing or two about hiring Italians. His CEO at Vuitton is Italian-born Pietro Beccari.
All told, even if Vuitton is the luxury brand synonymous with travel, and this was a collection devoted to home, the collection was still very much a fashionable voyage, with flights of fantasy that broke into new stylistic terrain.
The soundtrack gave the whole show a certain grandeur: Cate Blanchett slowly declaiming the words to David Byrne’s song “This Must Be the Place” from the band Talking Heads, though set to music composed by Tanguy Destable.
“Home — it’s where I want to be,” wrote Byrne, which doesn’t seem such a bad idea.
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Total apparel shipments fell by 2.66 per cent year on year to $425.44 million in January 2026, compared with $437.07 million in the corresponding month of 2025. The performance underscored uneven global demand conditions that continue to influence sourcing patterns and order flows for Sri Lankan manufacturers.
Sri Lanka’s apparel exports declined 2.66 per cent YoY to $425.44 million in January 2026 amid weak global demand.
Shipments to the US and EU softened, while the UK remained stable with slight growth.
Other markets saw sharper contraction.
JAFF highlighted DCTS benefits and tariff changes while suggesting diversification and efficiency to sustain competitiveness.
Exports to the United States, the country’s largest market, decreased by 2.73 per cent to $165.11 million, while shipments to the European Union excluding the United Kingdom, declined by 1.93 per cent to $126.99 million. In contrast, exports to the UK remained broadly stable, rising marginally by 0.23 per cent to $61.71 million. Apparel shipments to other markets dropped more sharply by 6.07 per cent to $71.63 million.
JAAF noted that the UK’s steady performance offers a constructive signal for the sector, particularly as the revised Developing Countries Trading Scheme (DCTS), effective January 1, 2026, is expected to enhance sourcing flexibility and strengthen Sri Lanka’s competitive position in the British market.
The industry body also highlighted the introduction of a uniform 10 per cent temporary tariff in the US market as a relatively supportive development, reducing the impact of previously higher country-specific rates and providing greater short-term pricing predictability for exporters.
Commenting on the January outcome, JAAF said the moderate decline reflects ongoing volatility in global demand. The association emphasised that the industry remains committed to reinforcing resilience through market diversification, product innovation and operational efficiency, while collaborating with stakeholders to sustain Sri Lanka’s standing as a reliable apparel sourcing destination.
Fibre2Fashion News Desk (KUL)
Profitability remained robust despite a more challenging trading backdrop. Group EBIT stood at €913.4 million, broadly stable year on year (YoY), translating into a 29.2 per cent margin versus 29.5 per cent in FY24. Net profit reached €626.7 million compared with €639.6 million a year earlier, reflecting higher net financial expenses, while maintaining a 20 per cent margin.
Moncler has reported revenues of €3.13 billion (~$3.69 billion) in FY25, up 3 per cent at constant exchange rates, with net profit of €626.7 million (~$739.5 million).
Asia led regional growth, while DTC channels strengthened across brands.
Q4 revenues rose 7 per cent, driven by robust Moncler and Stone Island performance, as the group prepares for continued investment and leadership transition.
Regionally, the group recorded strong momentum in Asia, where revenues rose 7 per cent at constant exchange rates to €1.42 billion, supported by demand in China and Korea and a recovery in tourist flows. The Americas increased 5 per cent to €391.1 million, whereas Europe, Middle East and Africa (EMEA) declined 3 per cent amid subdued tourism-related traffic, Moncler said in a press release.
Channel performance highlighted the continued shift towards direct engagement. Moncler’s direct-to-consumer (DTC) revenues rose 4 per cent to €2.36 billion, accounting for nearly 87 per cent of brand sales, while wholesale declined 4 per cent as the group continued to enhance distribution quality. Stone Island’s DTC channel expanded 11 per cent to €226.4 million, whereas wholesale decreased 4 per cent.
The group’s financial position strengthened further, with net cash reaching €1.46 billion at year-end after dividend payments of €353.2 million. The board proposed a dividend of €1.4 per share and approved the consolidated sustainability statement.
Remo Ruffini, chairman and CEO of Moncler, said: “Moncler and its board of directors wish to express their most sincere thanks to Gabriele Galateri di Genola for his dedication and the highly valuable contribution he has made throughout his more than ten-year term of office. His significant experience, the vision developed over many years in senior leadership positions at leading industrial and financial organisations, as well as his constant commitment to good governance, have represented a key point of reference for our work. With gratitude, we extend our best wishes to Gabriele Galateri di Genola for the future.”
In the fourth quarter (Q4), the group delivered accelerated momentum, with revenues rising 7 per cent at constant exchange rates to €1.29 billion (~$1.52 billion). Moncler brand revenues reached €1.17 billion, up 6 per cent, while Stone Island posted €123.1 million, surging 16 per cent with double-digit growth across all regions.
Moncler’s DTC channel advanced 7 per cent despite a demanding comparable base in the quarter, supported by Asia and the Americas, while wholesale returned to growth, rising 2 per cent. Stone Island recorded broad-based acceleration, with DTC revenues increasing 16 per cent and wholesale climbing 17 per cent, partly reflecting delivery timing shifts from the previous quarter.
Looking ahead, the group emphasised continued investment in brand development and organisational strengthening, including the appointment of Leo Rongone as group chief executive officer from April 2026, as it seeks to sustain long-term growth and value creation.
Fibre2Fashion News Desk (SG)
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