Louis Vuitton Pays Homage to Barcelona Architect Antoni Gaudí in 2025 Cruise Collection 

A model wears a creation by Louis Vuitton during a fashion show for the Cruise 2025 collection in the Park Güell in Barcelona, Spain, Thursday, May 23, 2024. (AP)
A model wears a creation by Louis Vuitton during a fashion show for the Cruise 2025 collection in the Park Güell in Barcelona, Spain, Thursday, May 23, 2024. (AP)
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Louis Vuitton Pays Homage to Barcelona Architect Antoni Gaudí in 2025 Cruise Collection 

A model wears a creation by Louis Vuitton during a fashion show for the Cruise 2025 collection in the Park Güell in Barcelona, Spain, Thursday, May 23, 2024. (AP)
A model wears a creation by Louis Vuitton during a fashion show for the Cruise 2025 collection in the Park Güell in Barcelona, Spain, Thursday, May 23, 2024. (AP)

Louis Vuitton unveiled its latest fashion designs at Barcelona’s Park Güell on Thursday, providing the clothes with drama to finally match Antoni Gaudí’s architectural masterpiece.

Nicolas Ghesquiere’s ambitions for the Parisian house’s 2025 Cruise collection were unveiled before an A-list crowd, including actresses Ana de Armas, Jennifer Connelly and Saoirse Ronan.

Louis Vuitton usually unveils its ready-to-wear collections in the French capital, while choosing exotic and attention-grabbing locations for its destination cruise collections.

Where tourists tread daily in tank tops, shorts and flip flops, this UNESCO World Heritage Site for one night was home to cutting-edge garments that blended with its earthly tones that are at once organic and yet seemingly ethereal.

The models weaved their way through the 86 Doric columns that hold up a vaulted square in the center of the park that overlooks Barcelona and the Mediterranean Sea in the distance.

The show notes said Ghesquiere had been inspired by Gaudí’s “legacy in constant mutation” and Spain’s rich artistic heritage.

“As if in homage to such opulent purity, the Maison’s rigorous spirit embraces the country’s passionate character,” the notes read. “The fervor of its colors, its loyalty to tradition elevated into artistic expression, dark and light that never appear contradictory.”

Dramatic silhouettes contrasted with the soft curves of Gaudí’s organic structures, which were then reflected in the dresses that draped and folded into volumes that defied gravity.

And then there were flashes that delighted: a pair of equestrian boots that finished in a bunch of tassels.

The fashion show, however, was not celebrated by all. A group of a few hundred residents protested the event for what they said were the inconveniences it had caused, including reduced parking in the area. The protest also included animal right activists.

The group of protesters located a few streets down the hill from the park’s outer wall could be heard beating drums, blowing air horns and setting off firecrackers before the show kicked off. Catalan police said they arrested one person for resisting violently to their decision to remove the protesters from a street to let traffic through.

Park Güell, pronounced “gu-ay” was started in 1900 as a planned upscale residential development designed by Gaudí, whose other works include the still-in-progress La Sagrada Familia Basilica. But a lack of buyers led to it being ditched in favor of a park that eventually passed into the hands of the Barcelona townhall.

It now receives 4.4 million visitors a year, mostly from the US, Britain, France, Germany and Italy, with Barcelona residents only representing 0.3% of the visitors, according to the park.



Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
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Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann

For the first time in their 40-year history, the Italian design duo Dolce & Gabbana are showcasing their work in the French fashion capital. Paris, the birthplace of haute couture, now finds itself hosting a powerful Italian counterpoint to French luxury fashion.
The message, as curator Florence Müller puts it, is direct: “Yes, Italy does it too.”
The landmark exhibition, Du Coeur a la Main (From the Heart to the Hand) running from Jan. 10 to March 31, is not only a love letter to Italian craftsmanship, but to the interconnectedness of fashion. “The story of couture is global,” Müller explained. “Embroidery, lace, brocade — they existed long before Parisian couture, in Italy, in India, and beyond.”
Spread across 1,200 square meters (1,400 square yards) of the newly refurbished Grand Palais, the exhibit showcases over 200 looks from the company's Alta Moda and Alta Sartoria collections and 300 handmade accessories, as well as objects like Sicilian ceramics. It includes 10 themed rooms that delve into the artistic roots of Dolce & Gabbana’s work.
Baroque grandeur defines the collection, unapologetically maximalist and layered with embellishments. Among the highlights is a gown inspired by Venice's Murano glass, encrusted with glass mosaics from Orsoni Venezia 1888, the glassmakers behind the golden mosaics of St. Mark's Basilica. Müller described it as “a sculpture on textile — pure craftsmanship elevated to art.”
Opera takes center stage. A black velvet gown softened by gold embellishments captures the drama of Bellini’s Norma, while a romantic blue dress for Verdi’s La Traviata flows like an aria, its tulle layers whispering love and loss. Meanwhile, icons of the brand, such as Sophia Loren and Naomi Campbell, are immortalized in giant paintings. Classical Italian opera and traditional Sicilian folk melodies provide the soundtrack, adding layers of drama.
But Du Coeur a la Main is not just about finished pieces. Five real seamstresses from Dolce & Gabbana’s Milan atelier work live during the exhibition, crafting bodices, bustiers and corsets before visitors’ eyes. “This seamstress is sewing lace to form a dress, while another is draping fabric by hand,” Müller said. “It’s extraordinary. This is not just fashion — it’s art.”
Sicily, Domenico Dolce’s birthplace, lies at the heart of the collection. Traditional Sicilian hand-painted carts, ceramics and lace-making techniques are woven into couture. Yet the exhibit also underscores fashion's often-ignored global influences.
“Luxury goods and artisans traveled more than we think,” Müller said. “The silk and brocades used at Versailles Palace came from India, and Italian artisans were hired to craft the Hall of Mirrors ... (Fashion) is constant exchanges and inspirations — this exhibit reveals what time forgot.”
Italian and French fashion have long been framed as rivals, with French conglomerates such as LVMH and Kering and Paris Fashion Week sometimes viewed as the pinnacle of the industry. But this exhibition challenges that hierarchy, showing that the two traditions are more interconnected than they are opposed. Both rely on les petites mains — "the little hands" — the artisans whose precision and passion elevate couture to art.
“The techniques may differ — Sicily’s lace traditions versus Paris’s tailoring — but the soul of couture remains the same: the human touch,” Müller said. The exhibit reveals the shared ingenuity of French and Italian ateliers, whether in a Sicilian workshop or a Parisian salon.
Even beyond couture, the exhibit highlights the breadth of “Made in Italy.” Everyday items like Smeg refrigerators and coffee presses given a D&G reworking reflect the ethos of Italian craftsmanship, transforming functional objects into canvases for artistry.
“Fashion is art. It’s meant to inspire, to dazzle, to make us dream. Whether you wear it once or never, its value is in its beauty, not its practicality,” Müller said.
When asked about hyperbole of the dazzling gowns — many of which seem impossible to wear on the street — she replies with a smile: “So what?”