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Vuitton Heads to an Architectural Wonder Outside of Paris


Vuitton Heads to an Architectural Wonder Outside of Paris

Plus, more from the cruise collections.

Historically, designers and big houses have been known to go big with their cruise collections, throwing giant extravaganzas in far-flung locations around the globe. Though some shows have moved on from entirely virtual setups, star-studded front rows remain a dream of the past. In the meantime, designers and their teams continue to innovate the show format, a testament to the power of creativity and ingenuity. Ahead, see all the looks—the best of the resort 2022 season—that are having us count our lucky stars our airline status is extended for one more year.

Louis Vuitton

Vuitton left the city center to show its resort collection and headed to Cergy—not far from Paris, but a world away—to an architectural feat few outside France know about, called Axe Majeur. The enormous, artful complex-meets-dreamscape was created by the Israeli artist Dani Karavan and the Spanish architect Ricardo Bofill. It began construction in 1980 and took nearly 30 years to complete. It’s a sculpture where, according to a press release, “water, light, wind, sand, concrete, stone, and steel create a felicitous relationship between nature, space, and time.” It sounds truly magical. And the colorful, upbeat collection that walked upon it held a bit of magic as well. In pieces with marching band influences, color to spare, more than a few paillettes, and artful layering, models stomped through sections of the space, including the “Île Astronomique,” “Le Douze Colonnes,” and “Le Jardin des Droits de l’Homme,” finally ending in “La Passerelle.” And just the beginning of the journey for this optimistic collection.

Proenza Schouler

Pre-spring is a celebration of “the pleasure of dressing up while remaining grounded in ease and effortlessness,” according to the brand. Jack McCollough and Lazaro Hernandez make clothes for cool girls who never want to look like they tried too hard. Mission accomplished for the season. Wrap shearling coats, knit separates (an ongoing theme from the designers that feels like a gift that keeps giving), and cutout easy-t0-wear dresses comprise a collection that feels like it could make for an entirely new wardrobe. Just add fuzzy slides and get ready to reemerge into the world.


Balenciaga delved into a concept that many of us have struggled with: What even is real anymore? In the show notes, the brand explains, “We no longer decipher between unedited and altered, genuine and counterfeit, tangible and conceptual, fact and fiction.” To illustrate that idea, Eliza Douglas, an artist who has either opened or closed every show and appeared in most campaigns for the past several years, was cast to wear every look in the collection. In a video directed by Quentin Deronzier, “Eliza appears as a series of digital clones, some of which are deepfakes, or models with Eliza’s photogrammetry-captured and CG-scanned face digitally grafted on,” the notes continue. It’s a trippy approach to confronting the questions that arise when we’re faced with a digital existence in which everything is Photoshopped and manipulated or subjected to a face-altering filter.

The collection showcases new shapes as well as products from The Hacker Project, conceptual interpretations of Gucci’s recognizable signatures as Balenciaga products. There’s a futurism at play, but the collection also honors the past and recent codes of the house—including a new take on the moto jacket. It’s a thinking woman’s approach to fashion, and a smart one at that.

Oscar de la Renta

Escapism, “whether a real-life getaway or a mere departure from the ordinary,” was the backbone of Laura Kim and Fernando Garcia’s pre-spring 2022 collection, which focused on pieces fit for weekends away and looks that thought outside the classic Oscar de la Renta codes. There were more casual pieces, pop-colored coats, the requisite amounts of eveningwear—and then there were looks with loads of sex appeal, like an all-embroidered sheer evening gown (pictured left). Despite a rustic inspiration from the great outdoors, this season didn’t lack in drama; gowns in electric tones of silk faille, sequin-studded eveningwear, and watercolor prints brought a boldness to Oscar de la Renta’s great escape. —Carrie Goldberg

Carolina Herrera

Wes Gordon began designing resort 2022 dreaming about all he was looking forward to post-lockdown, from long lunches on the beach to jetting away for the weekend, dancing at a party, the list goes on. This collection was, in essence, the wardrobe for those dream scenarios all compressed into a 24-hour getaway. Gordon presented looks to suit a daytime excursion, like exploring town and window-shopping, as well as options for sunset cocktails—and a garden party that turns into an all-night, barefoot dance fest in the grass. Gordon’s take on the Herrera woman is one who’s not afraid of bold colors, patterns, or silhouettes; like his past seasons, this collection had all three in droves. —Carrie Goldberg

Tory Burch

“Our collection is a celebration of fantasy, conveying a renewed sense of hope, escape and, quite simply, what we want to wear when we can go out again,” Tory Burch explained. That notion translated to polka dots and leopard, a bit of lurex, taffeta pants, and silver ribbed cardigans alongside pink velvet jackets and more than one crinoline skirt. The shoes are more often than not ballerinas—perhaps as a way to ease the Tory girl back into the real world. The details are on full display here—needlepoint and contrasting buttons and paisley prints make for an uplifting re-entry point. These are capital L looks and they feel like a lot of fun.


For her second collection for the storied French house, Gabriela Hearst is not sleeping on making strides in sustainability. Some notable implementations include the use of lower-impact materials like organic silk (recycled cashmere or deadstock now makes up 55 percent of the ready-to-wear line); 15 percent of the collection is being manufactured by WFTO fair trade-guaranteed members, Akanjo and Manos del Uruguay; and Made51, an initiative created by the United Nations Refugee Agency, is providing embellishment on handbag designs.

“The fictitious but utterly delicious state of being in love,” Hearst said. “I couldn’t start this journey at Chloé without love being the emotion as a driver.” Hearst looked to pre-Raphaelite portraiture and all its romantic notions for inspiration, but she also referenced a rather pragmatic moment in human history—the Arts and Crafts movement at the turn of the 20th century, which manifested as a response to the dehumanizing effects of the Industrial Revolution. Today, she is looking to the negative impact of climate change and the digital revolution as mirrors to the past in hopes of a new Renaissance of sorts. Sign us up in a beautifully designed trench—sustainably made, of course.


Quintessentially English style was the starting point for Erdem Moralioglu this season—tapping petite floral prints, mohair cardigans, satin evening gowns, and opera gloves for a collection he dubbed in the show notes an “ode to Englishness.” Showcasing the resort range in a rainy Trafalgar Square only drove that message home, as did a series of garden party-worthy looks and a suite of burgundy toile. It seems for resort, Erdem’s woman dresses for the mood of the moment—sometimes laid-back, other times outfitted to party, always effortless and, at times, embellished. At a pivotal moment when the world is slowly opening up again, Erdem is introducing a wardrobe for those slowly looking to dress up properly—be it for the office, a vacation, a wedding, or just because. —Carrie Goldberg


For its resort season, Coach is getting more to the point and calling it a “winter collection,” showing today in Shanghai. The runway presentation, chock-full of playful knits and great shearlings, showed alongside the most recent episode of Coach TV. The brand collaborated with Jennifer Lopez, Jeremy Lin, Yang Zi, Kōki, Xiao Wen Ju, Rickey Thompson, Ke Fan and Ding Nan, as well as writers Amber Schaefer and Yoni Lotan, and directors Danielle Nemet Aphrodite and Jason Bergh.

“Our winter collection is inspired by a sense of adventure and our hopes for tomorrow,” creative director Stuart Vevers explains. “Building on and re-representing ideas from fall, it debuts a more honest approach to seasonality whilst expressing my vision for winter, an ode to the attitude of a new generation in Shanghai.”

Thom Browne

Thom Browne is taking to the skies for resort—leveraging skyscapes of kites, hot-air balloons, and hector-shaped clouds on its fetching skirt suits and tailored separates. It’s prep forever from Brown, with anoraks, blazers, pleated skirts, lace-ups and loafers done in a reserved palette of mostly gray, black, and white. But that doesn’t mean that playful sensibility is lacking.

Christopher John Rogers

For Christopher John Rogers’ 008 collection, the brand is cementing its house codes in a way that’s familiar to the label but amped up. “It’s not anything we’ve ever done, but it’s everything we’ve always done before,” the founder and creative director of the namesake brand explained. After some serious soul searching, the label was able to narrow down what makes it distinctly CJR, and what required “fine tuning” in order to press on.

A prime example: taking its affinity of color to new heights. The lineup pushes beyond its signature standout palette by presenting its love of shades in a multifaceted way. In other words, more is more when it comes to every shade of the rainbow. Rogers also maintained his penchant for suiting, leaning in to more tailored silhouettes, while still offering some of the free-flowing shapes his clients have come to love. Each look is styled with a pair of exclusive Christian Louboutin shoes. All the better to truly make an entrance. —Shelby Ying Hyde


Chanel Cruise showed to the sounds of French musical mainstays including Vanessa Paradis and Charlotte Casiraghi, and newcomers like Angèle, inspired by none other than the Frenchest of the French, artist Jean Cocteau. This is Chanel, after all. The reference was quite obvious to creative director Virginie Viard. “Because Gabrielle Chanel was close to Cocteau, and I love the film Testament of Orpheus,” Viard explained. “In particular this magnificent scene: a man with a black horse’s head descends into the Carrières de Lumières, his silhouette cut out against the very white walls.” The show took place without the usual celeb contingent (though the likes of Margot Robbie and Ann Hsu sent love letters in their stead) at the Carrières de Lumières in Les Baux-de-Provence. It was a collection of absolutes done up in all black and white, which isn’t to say it was entirely restrained.

“Because the simplicity, the precision and the poetry of Cocteau’s film made me want to create a very clean collection,” Viard continued. There was room to play in this rather strict palette, with opening looks embracing more tailored attire—long dresses, tweedy suits—before forging full speed into some classic rock-and-roll nostalgia. “I wanted something quite rock. Lots of fringes, in leather, beads and sequins, T-shirts bearing the face of the model Lola Nicon.” A crochet cape gave some decidedly Stevie Nicks vibes, while the overall mood lived somewhere between the free spirited ’60s and straight-up punk. Pointed silver Mary Janes, little lace-ups, and booties completed the ensembles that feel created more for the city than the Riviera.