Louis Vuitton Resort 2026, and other stuff
This Week In Fashion
Other than a couple of other things, this is basically just the second half of my Cannes fashion review. However, more importantly, Louis Vuitton did show their Resort 2026 collection this week as well and we all know Nicolas is my king, so that was where most of my critical review skills went.
Anyway, let’s get into it.
Louis Vuitton Resort 2026 took us to the Palais des Papes in Avignon, where Nicolas Ghesquière delivered a collection set against the charged backdrop of a medieval Gothic fortress. Although once the seat of 14th-century popes, the venue was a perfect location for a collection that collapsed distinctions between past and future, costume and clothing, spectacle and self. It was a meditation on what it means to wear clothing not merely for function or even expression, but as a form of world-building.
This season’s multidimensional fantasy brought us knights and court jesters wearing armor and costumes made of a motley of textiles, textures, and silhouettes. Shining brocades mingled with delicate knits and buttery leathers, creating imagery that gets even better the second time you look through it all. In regards to his concept of the carnival chronotope, Mikhail Bakhtin wrote, “Time becomes visible, space becomes charged and responsive to the movements of time, plot and history unfold in a tangible field.” Ghesquière’s collection creates such a field, rendering time as tactile. These were not clothes about history, but clothes that enact a relationship to history, fantasy, and identity. It’s as if the collection were closer to the memory of history rather than how it is actually archived.
Speaking about the choice of venue Ghesquière said, “When Jean Vilar came here in 1947 to perform, he said, ‘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.” It might not be impossible to do fashion at the Palais de Papes, but it can sometimes feel like the worlds Ghesquière dreams up would be impossible to imagine, and yet he manages to make them feel so rooted in reality.
The audience watched the show from the stage, taking it all in from the performer’s point of view. When doing research for the collection Ghesquière found images of a play Vilar did at the venue, where the actors wore both costumes and their own clothes. It was as if the veil of performance had been shattered, begging us to wonder how much of life is actually an act. In The Presentation of Self in Everyday Life, Erving Goffman explores the metaphor of life as theater, noting that we all perform differently depending on whether we are “backstage” or “frontstage.” Ghesquière collapses this binary. If the audience is on the stage, then who is watching whom? The show is not just what happens on the runway– it is what happens in the room, what people wear to attend, what they post afterward. Like Vilar’s actors, we are never not in performance. Resort 2026 democratizes performance and as a result everyone is implicated.
There’s also something very childlike about this fantastical way of thinking that parallels the way a child’s imagination allows them to battle evil sorcerers or fight alongside superheroes. Or even the same way adults all knew to wear pink to watch Barbie or to wear their western best to the Cowboy Carter tour. It’s a performance of identity in search of escapism. It is less delusion and more practicing reality, testing identities in a safe imaginative space. This is not dressing up as if we were someone else, it is becoming someone else for a moment– with no consequences, only freedom. The collection becomes a ritual of cultural play. One that acknowledges that modern adulthood still aches for mythic escape. It begs us to ask what we become when we imagine ourselves otherwise, and why shouldn’t that be reality?
- Hailey Bieber for Vogue; I actually couldn’t have less interest in celebrity life, but any man that uses his partners success as a time to do something embarrassing deserves shame, idk. Anyway, this cover is quite simple, but I actually really enjoy the photo. Sometimes I feel that the wrong photo is chosen for the cover, but I actually don’t think it could have been any of the other photos in this case. This whole refreshing healthy and wellness thing makes sense for Hailey, but I think it’s also a trend that we’re just going to continue seeing more and more of. This even more commodified wellness industry. Styled by Tonne Goodman.
- Kicking off the Cannes reviews strong with Alexander Skarsgård’s freaky little fits. I’m surprised people are surprised by his sartorial choices, because I feel like he’s always been a little bit of a freak and I just think he found someone who can finally match his freak with Harry Lambert, you know? Anyway, it’s no secret that I was a big fan of Saint Laurent’s Spring 2025 Menswear collection and those tall, leather wader boots are gonna work for me every time, probably. When I first looked at this, I kind of missed the way the suit jacket felt a big more fluid on the runway, but then I started to kind of enjoy this very traditional tuxedo fit with the boot— a bit more subversive and tense in its environment.
Then there was this masterpiece. The Magliano blazer is all good and nice, but the Bianca Saunders sequin pants are the real star of the show— complimented perfectly by a pink bowtie, might I add. I’m sure all these looks pissed a lot of people off, but I love some silly goofy fun where its not expected.
Like, the audacity of this!!
And we of course can’t forget the S.S. Daley school boy special. So good. So, so good. It’s objectively just a good look, but one that doesn’t at all take itself too seriously, especially with the gesture of it all. Harry Lambert, please never leave this man.
- This was a great Gucci look. I love a brown and the way the paillettes and beads fringe down the dress is really nice. I also don’t mind the velvet, fold over strip at the neckline and the fit is wonderful.
This was a not so great Gucci look. The velvet and embellishments feel like they’re working against one another here. I don’t find issue with a more “commercial” look, but I think there’s ways to do that without it feeling dull or forced.
- Honestly, not mad at this. Demna is no longer at Balenciaga, so I’m assuming these looks are coming from the design team. I like that it’s fully fringed, almost like hair, and the color and weight of the fringe is also great.
The denim look was crazy though. Although Demna was getting a little questionable over at Balenciaga towards the end, not even he would have let this one fly. Also this is a dress, and in the back the skirt and top tie together like the stiff sleeves of a jacket, with one of the sleeves going up and one going down.
- Wow, remember when this style of Saint Laurent dress was everywhere? Haven’t seen her in a while, but this lilac rendition is quite nice. The sheer, slip dress of it all feels very Charli, but I also like that the opaque sections are strategically placed and I love the drama of the feathered shawl.
- Our first look at Louise Trotter’s Bottega! We’ll see more deliciousness on Vicky Krieps, but I wanted to talk about this look, because although it’s very simple, I also think it’s very good. I loved Matthieu Blazy’s Bottega so much, but the custom looks would sometimes miss so hard that it was confusing. They’d be simple but underwhelming, where as this feels simple but striking. It’s tailored beautifully, and I love the subtle pleating, almost making it look like a sarong, before we got to this knotted fringe leather. Very nice!
- This is a very lukewarm dress. I don’t think the dress is horrible and it’s tailored beautifully, but the choice of a high brief and bra underneath feels crazy. I feel like bodysuit or no bra and bikini cut undies would have made more sense.
Fringe seems to be the moment at Cannes this year. The waist seam is throwing me a little bit, but I do like this dress better. I enjoy the layer of sequins underneath the fringe and it did looks very nice in motion.
- Not her best, but she’s a fashion girl and can usually sell me on most things. This is just a strange use of draping, but I think that lace portion is lovely.
- Rosie is known for being quite minimal so I’m always expecting that from her. Sometimes it’s boring and sometimes it’s super fab— this being the latter. We saw a similar style of lace up dress by Balenciaga on Nicole Kidman during the Babygirl era, but it still works for me. Although a small detail, I love the way Rosie has wrapped the excess ribbon around her wrist here!!!
- Yes, Rocky looks nice in this Saint Laurent suit, but really we’re all here for Rihanna in this beautiful, blue Alaïa moment! Queen of maternity fashion fr. Simple, but so lovely! I’m imagining this is essentially just one, curved piece of fabric cut in three areas, when laid out flat and that’s kind of neat.
Although, personally, it was this Brandon Maxwell look that really took my breath away. Another simple look, but the cutouts are just so perfectly placed, and I just always feel like Rihanna reminds women that being pregnant isn’t something you have to hide away from the world.
- You know, even your faves get it wrong sometimes, and I can’t make sense of this Louis Vuitton dress at all. What was the reason, truly? Not only is the skirt bizarre, but then the pelvis also looks kind of wonky with whatever boning or lining exists underneath.
- This was a really beautiful, Cinderella blue dress. All these tiny pleats on the bodice really work well to draw your eye in, and I enjoy the two strips that branch off of the hip and into two separate trains tailing behind the skirt.
- These were some of my favorite looks from Cannes this year. This first look really knocked me out. The intrecciato woven top is so buttery and beautiful. I love that the strips are all different widths, and the way the shoulder pleats creates a really lovely shape. Also, the open back is so hot, and the white pant is very effective in letting the top me the star of the show.
Then there was this nasty little structure number that did just enough. I love the lifted square neckline and the subtle little drape in the back. So, so chic.
Then finally she gave us this BDSD butcher fantasy that kind of combines elements from the first two looks. I really enjoy the halter style and how it just drapes and fringes over the shoulder. Especially because if you look closely, you can see that the portion that goes around the neck is woven and then just disperses. This really made me excited for Louise’s Bottega. I don’t think it’ll be an exact continuation of Matthieu’s, but she also has that quirk and fun to her that doesn’t take itself too seriously with such luxury clothes.
- EXCUUUUUSE TF OUT OF ME!! This dress was truly made for her and it’s stunning.
Also so cute! A very casual day time look and I’m obsessed with this drawn on t-shirt. I’ll be honest, this is the first I’ve heard of Dylan’s t-shirts and I’m obsessed.
As if the Armani wasn’t good enough, she also gave us this incredible, custom Valentino. It is so striking. I love the subtly of the harlequin pattern and how the skirt sheers towards the bottom. I keep zooming in and just going, “wow” to no one but myself.
Definitely my least favorite of all her looks, but as far as Chanel goes, it could be worse! It’s kind of sweet. I like the dropwaist and the color is nice. The black bow is very Chanel, but it just grinds my gears here.
- Now, Coco, lmao. You know Coco can out pose them all, but not even her incredible ability to sell you on a garment can save this one. I looked into this designer after seeing this look and it’s not all as bad as this. I understand what we’re doing here but it feels way too Project Runway. I’m also stressed about the collars being different lengths and not descending from shortest to longest.
- Really good year for men at Cannes, hate to say it. If you’re gonna do simple, you have to make sure it’s done well, and I’d say this is done pretty well. Also, big fan of the pussybow blouse meets cravat.
I really like how this all feels like denim but it’s not denim. Very nice daytime suit. I would have love a navy loafer to match, though— a brown might have been nice as well.
- Bitch, the earring alone! Very fun embroidery and love the smoking jacket look that Alessandro’s been doing so much. I mean, we already know Colman never misses.
- His color palette has been immaculate at Cannes this year. The way the jacket is belted into the pants? Insane work. I smile every time I see him.
I do wish he would consider a sock more often, though. Otherwise, I do love this brown, velvet fantasy.
- Kind of giving holiday Barbie, but I’m not mad at it. I do, however, wish that where the satin and velvet meet was a bit cleaner.
- The most beautiful swan I ever did see. More of this for her, please. That neckline is so whimsical and fun, and I’m obsessed with the swing of the skirt. Stunning.
- I can’t even explain to you how much I love this. I know it’s not anything groundbreaking but it is perfect. This was styled with a black loafer in the lookbook, but I actually prefer this sneaker so much more. Ugh, and the trim at the hem of the jeans!!
His Prada looks were just as good, by the way. Josh is another Harry Lambert darling and I think what’s so fantastic about his work is that, although I can usually pinpoint it, he still manages to make each client feel like a distinct individual. Anyway, all the colors are working really well for me here.
This one’s on the more traditional side, but still good! The pants could fit a touch better here, but I do love Prada’s fearlessness in playing with colors.
- I’m sorry, a Gucci saree?! Very camp but also very fabulous. Also! Look how easy it is to make a nude lining actually look nude everyone!!
- This gown was so dreamy. It is rather simple overall, but then the neckline drapes bag into these two large, layered, lace puffs that had the most incredible movement. So yum.
- Also very into this Louis look. This lace is so old worldly, but the metallic silver combined with the silhouette give it a more modern feel. I also kind of love how that top layer floats over the bottom layer at the bottom, almost like it’s disappearing into the darkness.
So that was this week! My back hurts from sitting here and typing.
TTYL!!!
xx