What made Ghesquière’s collection so compelling is that it looked like nothing else. From Milan to Paris, this season’s runways have often revolved around a certain trend language: the oversized blazer styled with a bra or a bustier and an evening or miniskirt. It’s a seductive silhouette that speaks to people right now, and has ties to a look established so firmly by Kim Kardashian that we should be sending her royalties. She’s a fearless dresser and a great muse, but at its best, fashion is proposing something we don’t already know. That’s what Kim wants from a collection, too. Ghesquière hit that spot, in garments that occasionally echoed elements of that inescapable season silhouette – especially in some very over-proportional dad blazers – but constantly pushed towards new and often quite weird territory. It was so uplifting to watch it unfold.

It featured David Sims portraits

The Louis Vuitton collection was never more mysterious than when the visages of young people started appearing on garments – as small prints on oversized rugby shirts, in a silk portrait woven onto the front of a dress, and printed on top of floral sweatshirts worn under transparent pinafore dresses and tops that looked like digital filters. “The images are by the photographer David Sims, from the beginning of his career, in the 1990s. I love them; they’re very pure and they speak to a certain idea of adolescence,” Ghesquière explained. “They could almost be the kind of T-shirts teenagers buy on their way home from a concert. Or like you find in a teenager’s bedroom, with floral wallpaper plastered with photos of their idols.” On his Instagram, Sims tagged his subjects: the model Emma Balfour and musicians Tom Bowen and Ash Lewis. “30+ years later, still hitting the Paris runway,” wrote Lewis. “Did a Paris show again today without getting out of bed,” wrote Bowen.

It took place in Musée d’Orsay

The show was the first ever to take place in the Musée d’Orsay, which had been left so true to its normal interiors that it often looked like Ghesquière’s models were off to look at one of the building’s Gustave Courbet paintings. Courbet, as it happens, is becoming a Louis Vuitton fixture. For his final and posthumous men’s show for the maison in January, Virgil Abloh transformed Courbet’s The Painter’s Studio into the tapestries of suits, using the work as a representation of diversity within the fashion establishment. Abloh would have smiled at the sight of oversized Louis Vuitton bags passing through the Orsay’s halls, one rendered in floral tapestry, another in epi leather. They were seductive season accessories, backed up by some wildly delectable brown riding boots.