At this point in the year, we’d all like to drop everything, up sticks and go on holiday to somewhere quite nice. Well, turns out if you’re a storied fashion house you do actually get to do that (alright for some). While we all sit at home and live vicariously through our broadband connections, houses like Louis Vuitton, Dior and Pucci are enjoying the finer things in life, heading to 15th-century palazzo’s and artefact-stacked art galleries for their Pre-Fall, Cruise, and Resort shows (keeping up?). If you missed your connecting flight and weren’t able to make it out in time, then fear not: we’re here to bring you a one-stop guide to this season’s destination shows. Scroll down for more, and stay tuned for additional locations as we update this ongoing list.

BALENCIAGA

For its Spring 25 show, Balenciaga continued its well-worn tradition of taking everyday, quotidian items and subverting their use, transforming them into coveted, luxury must-haves. At its AW24 show last September, it was the humble clothes tag that got the Demna treatment, rendered in leather instead of cardboard, while previous seasons we’ve seen everything from bags of crisps to passports repurposed as high fashion garb. This time however, it was the turn of the shoe box, as models hit the runway carrying what seemed to be cardboard cuboids, but were actually leather clutch bags, tucked under their arms in the pouring rain.

It turns out that – like Louis Vuitton’s Voyager show before them – an art museum in Shanghai was the location of today’s rainy excursion, with the label setting up shop in the futuristic Pudong Art Museum. As well as the trompe l’oeil shoe boxes, models stomped past the gallery’s enormous LED screens in towering, seven inch leather platform boots that were inspired by the city’s iconic skyline, and tote bags that were actually made from puffer jackets and peacoats. Elsewhere sunglasses came predictably outsized, while couture and demi-couture gowns were shown alongside spangled Y2K-tracksuits and blown-up platform sneakers, continuing Demna’s career-long practice of merging high with low.

This show was also our first glimpse at a couple of the label’s newly announced collaborations, ones that perfectly fit its design ethos. First up was an offering from sports label Under Armour, which lent its interlocking logo to some hoop and studded earrings, while Chinese payment platform Alipay also teamed up with the brand for an exclusive logo tee. Just like his SS23 show on the NY Stock Exchange floor, Demna loves to satirise the link between fashion and commerce in his collections, and the Alipay collab seems to be a continuation of that, while the irony of teaming up with an athletic brand and producing a pair of earrings won’t be lost on Balenciaga’s fanbase.

DIOR

For Dior’s Fall show, Maria Grazia Chiuri planned to open a dialogue between the cities of Paris and New York. “This Dior line is an opportunity to pay homage to New York, the megalopolis that was given – as a gift from the French to the United States at the end of the 19th century – a statue which has since become the symbol of this incredible city,” read notes mailed out before the show. Inspired by a chapter in Monsieur Dior’s autobiography detailing a trip from Paris to New York, Chiuri set out to use the aforementioned Statue of Liberty, as well as Paris’ Eiffel Tower, as visual linchpins for her transatlantic show.

On the catwalk this translated to an opening look with signifiers from both cities. There was the hulking leather jacket, perfect for an NY autumn, the felt baker’s cap, tipped to the side like a beret, and printed tights with the names of both cities splashed up the legs. Elsewhere, the US references came through in a Stars and Stripes pullover and garments printed with the New York skyline, while breton striped frocks and Eiffel Tower dresses flew the flag for the French. Towards the end of the show, more subtle renderings of each nation’s codes came through in beaded flapper dresses and fringed opera gloves.

LOUIS VUITTON

Over at Louis Vuitton, Nicolas Ghesquière continued his tenth anniversary celebrations by heading to Shanghai’s Long Museum, the private art gallery founded by husband and wife collectors Liu Yiqian and Wang We. While precious works quietly slept in adjoining rooms, Ghesquière offered his own art curation, teaming up with contemporary painter Sun Yitian for the collection’s playful prints. Yitian’s work opened the show, splashing her renderings of mass-produced toys across satin skirts, dresses and some leather accessories.

As destination shows tend to do, the rest of the collection dealt in aesthetics of exploration. Jackets came sleeveless and buckled like they belonged to some sort of 1920s explorer, and seatbelt straps were looped round models’ waists as belts. Elsewhere, pants ballooned outwards as if their wearers were falling from the sky, and the parachute silhouette we’d seen on Ayo Edibiri at this year’s Emmys returned in satin and peacoat iterations. A particular standout were the football boot-heel hybrids that looked like vintage studs combined with a classic stiletto. It seems that even after ten years at the helm, Ghesquière continues to make these kinds of odd-ball additions to his sports luxe legacy.

PUCCI

When your home country already boasts balmy shores and Mediterranean climes, what’s the point in popping off on holiday? That was the thought process for Pucci’s latest show, as the label headed to the ornate Palazzo Altemps in Rome for Camille Miceli’s second ever catwalk. Inspired by a 1990s issue of Vogue Italia where Isabella Rosselini posed on a tiny island off the coast of Naples, the show opened with Christy Turlington in a billowing black dress, which was followed by a section of evening resort wear in earthy greens and browns.

Though the classic Pucci squiggles still came in aplenty, things took a slightly more muted turn than previous offerings. A selection of printed denim offered a more everyday take on Emilio’s psychedelia, while cropped tees and logo underwear added a casual flair to proceedings. Negative space was harnessed to a greater extent too, with prints used sparingly on hems and necklines, rather than splashed unceremoniously across. That was until a kaleidoscope of floor sweeping kaftans arrived towards the end, and Isabella Rosselini herself appeared to close the show.

CHANEL

For AW24, Virginie Viard transformed the Grand Palais Éphémère into a seaside town, switching out the usual runway and replacing it with a boardwalk like the one in Deauville, of which her collection was inspired by. Now, for its latest offering, Chanel has taken a much more literal approach to its summer holiday, swapping the throng of Paris Fashion Week for an actual seaside town. Heading a thousand kilometres south to Marseille, for its 2025 Cruise show the French house took over the rooftop of Cité radieuse, an apartment building designed by legendary architect Le Corbusier. Originally conceived as social housing, the block of flats was designed in the late 40s as a self-contained “vertical village”, one that included amenities like shops, a swimming pool, and a kindergarten playground. It’s a far cry from the mega rich resort of Deauville – where Coco Chanel famously began her millinery empire – and speaks to the house wanting to tap into an “urban” kind of cool, much like they did in Manchester last year.

Before things kicked off, Viard let us all know that “Marseille is a city that puts me in touch with my emotions” in notes mailed out before the show. “I tried to capture its power of attraction,” she continued, “its breath of fresh air, and to convey the energy that reigns there.” On the catwalk, this translated to a flock of multicoloured tweed skirt suits, some exploded crochet knitwear, and a leather twin set whose silhouette seemed to be inspired by a Victorian bathing suit. Elsewhere, the seaside references appeared via straw hats, terry cloth and high cut bathing suits, while a closing section of romantic looking lace frocks were begging to be swept by the wind atop a big chalk cliff. A highlight came in the form of the diving inspired pieces, whose hoods, zips and CC logos added a much-needed sporty flare to the collection. “The sea and the wind made me want to play with wetsuits,” explained Viard of the design choice. “I was inspired by the codes of lifestyle, of everyday life and by all the things that invite movement.”

LOUIS VUITTON (AGAIN)

With the dust barely settled from its Voyager show in Shanghai, Louis Vuitton were back at it again, this time heading to Barcelona for its 2025 Cruise show. Park Güell was the location for this year’s event, an architectural utopia created by iconic Catalan designer Antoni Gaudí in 1914, and now a UNESCO protected public garden. “Gaudí is like a land unto himself that, to this day, continues to come into its own in the city of Barcelona,” said the show notes in reference to Gaudí’s artistic footprint that’s embedded in the city to this day. “Staged within this incomparable architectural organism, the Cruise 2025 collection is steeped in the flourishing culture of Spain.”

As “Music for Chameleons” by Gary Numan blasted from the speakers (surely a nod to Gaudi’s mosaic lizard sitting at the park’s entrance), models made their way through the jagged columns and into the waiting audience. Hulking shoulders on stiff, starched jackets opened the show, along with some futuristic pleats and technical jackets that directly riffed off February’s AW24 show. And, as always, Nicholas Ghesquière continued to smash the sports and luxury references, kitting out the opening gaggle of models with wide-brim straw boaters and clashing cycling sunglasses.

Elsewhere, LV’s Resort woman hit the runway in floaty gowns with hip-baring cutouts, an assortment of woollen ponchos, and boots covered in fringe that would’ve found a home on Animal from Sesame Street. Breaking away from the sporty aesthetic, the historically-influenced closing section was a welcome change of pace, with puffball skirts, belted corsets and Jacobin-coded thigh-high riding boots all making appearances towards the end of the show.