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Traveler, open your bag,
and let the stories of
a lifetime unfold...
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CONTENTS
! STORI ES OF A LEGEND
1854 House of Louis Vuitton is
born.
9 STORI ES OF TOGETHER
For a century and a half, skills
have been honed and handed
down by craftmen with a shared
passion. For a century and a
half, skills have been honed and
11 STORI ES OF TRADE
The legacy of an adored grand-
mother, the globe-trotters com-
panion, a snug nest for mans best
friend...Objects with a soul.
13 STORI ES OF PERFECTI ON
The Speedy and the Steamer bag,
emblems of timeless style.
17 STORI ES OF ARTI STS
With Billie Achileos, key holders
and purses become chamelons.
Sylvie Fleury turns the Keepall
into a work of art.
19 STORI ES OF TRAVEL
Baggage by Blaise Cendrars.
A pier between sea and sky, a long-legged
woman in a black dress, a bag packed with
stories... the dream begins. Luios Vuitton
poineered the art of travel and of leather
goods, fitting each trunk, each accessory, each
detial to the desires of those who tirelessly
crisscross the globe. Moving with modern
times, the House has embarked on every ex-
pedition, every advernture. Nestling elegant-
ly in the crook of an elbow amid the hustle
and bustle of a city, or slung resolutely over
a shoulder in distant lands, a bag is not only
a costant companion, but also a testament to
a century-old tradition founded on a quest
for perfection and a respect of savoir-faire.
EDTORI AL
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Since the middle of the 19th
century, Louis Vuitton has
created innovative, elegant
and practical bags, trunks
and accessories, which have
been loyal companions of
celebrities and dedicated
travelers the world over.
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Normadic objects which, though now familiar,
would never fail to catch the eye.
STORIES OF A LEGEND
C
ity of light, city of steel, city of
fun and frivolity... It was in the
heart of Paris, the legendary cap-
ital of infinite possibility, that
Luis Vuitton - a young man freshly arrived
from his native Jura mountains - invented
the perfect piece of luggage. From the be-
ginning moving with his time, Luis Vuitton
thus founded the House that would, over
the years, set its name and colors on trunks,
cases, bags and all manner of portable con-
tainers. Stars and sovereigns, explorers,
artists and divas would henceforth travel
in style, be it on exotic expeditions or city
escapades, accompanied by these nomadic
objects which, though now familiar, would
never fail to catch the eye.
A watchful guardian of skill and patience,
tradition and creative passion, the House
has carried across the world the creations of
living craftsmanship - a craftmanship con-
stantly and renewed and respectful of wis-
dom and heritage.
LEGENDARY
as the Eiffel Tower: 1978, the pho-
tohrapher Jacques-Henri Lartigue
captured for posterity a pyramid
of Louis Vuitton trunks and bags
piled high to emulate the famous
monument.
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In the Asineres leather goods workshop near Paris, craft-
men trained in meticulous precision share their skills to
create objects that are rare, desireable and durable.
A
t Louis Vuitton, leather goods are the
result of teamwork. After all, several
pairs of hands (and eyes) are better
than one! From cutting to quality con-
trol, some twenty craftsmen may be involved
in the production of a single design. To as-
semble the Mahina bag, for example, we need
ten different work stations, each dependent on
the obe before, explains Sebastien, a fore-
man at the Asnieres workship. Our leather
artisans are multi-skilled, whch means they
can help out a colleague if there is a prob-
lem, or change stations if necessary, he adds.
A close collaboration thus binds the men and
women whose complementary skills culmi-
nate in an article of the highest quality. They
work together, help each other to overcome
challenges, and also hone each others skills
The team spirit that pervades Louis Vuitton
workshops is both an ethic and an asset. It is
the only way to transmit best practice, stress-
es Sandrine, responsible for Haute Maroquin-
erie at the Issodun workshop in central France.
The creation of these bespoke leather goods
reinforces ancestral manual skills. Leath-
er craftsmen have been specially trained.
As new artisans join the team, they pass
their skills on to their colleagues. It is stim-
ulating and rewarding for me to share my
know-how. That way, we all help each oth-
er and guide others along, explains Laure.
This virtuous circle nurtures the cohesion of
the team and the excellence of its production-
two golden rules of Louis Vuitton workshops.
It is a stimulating and rewarding for me to share my
know-how.
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Through a passion
for excellence and
work well done, Luis
Vuitton nurtures the
passing-on of the
skills for which the
House is renowned.
F
rom one generation to the next, from the
master to the apprentice, precious se-
crets and tricks of the trade are passed on
through looking, listening and practice
As with any learning experience, it takes pa-
tience and perseverance, nut also a certain hu-
mility towards the teacher, comments Olivier,
who seven years ago joined the Asnieres carpen-
try workshop, where the frames for trunks and
hard-sided special orders are made. Originally
a cabinet-maker, he was trained for two years by
Jean-Louis, a carpenter who was about to retire
after forty years with Luis Vuitton. A real charac-
ter! He didnt need plans he had everything
in his head, his hands and his heart! I, on the
other hand, took notes so I wouldnt forget any-
thing, remembers Olivier, who discovered with
Jean-Louis techniques unique to Louis Vuitton.
Unlike wooden furniture, trunks have to be
lightweight and easy to carry, as well as ro-
bust. Its a very special way of working I call it
vuittonage, he says. While traditional produc-
tion methods have endured to the present day,
the craftsman always brings his own personal
tough to his work. We never reveal our way
of doing things entirely, because each appren-
tice needs to find his own knack, emphasizes
Eric, who joined the leather workshop in 1983.
Having worked in various positions including
hard0sided special orders for the past right
years, he is responsible for training interns. I
try to put them at their ease, so that we can
build a real relationship of trust, he explains.
He communicated with me in
his own way, and I watched and
copied what he did. It was spend-
ing with him that counted!
Such a relationship means that not only tech-
nical skills but also a certain ethic and disci-
pline, are transmitted within the workshop
That is another part of our job, says this
sturdy leather artisan with tattoos down his
arms. Because training is a human experienc-
esad, each case is unique. None more so than
for Hamid, who was initiated into the work-
shops know-how by Michel, a hearing and
speech impaired locksmith who had been with
Louis Vuitton for forty-two years. He com-
municated with me in his own way, recalls
Hamid, and I watched and copied what he
did. He adds: For me, it made no difference.
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TOUCHING
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L
ook, feel, smellLeather is a living ma-
terial, a sensual material. Its warm scent,
so instantly identifiable, permeates the
air of the leather storeroom, where the
skins used by Louis Vuitton are kept in care-
fully controlled conditions of temperature and
humidity. From natural cowhide, tanned with
wood bark, through calf and goatskin, to lamb-
skin, so soft to the touch, the hides must all
conform to the Houses strictest quality criteria.
Standing at the sorting table, alert to the small-
est detail, the leather worker meticulously ver-
ifies the hides delivered by the tanners. Each
time, the ritual is the same: When I take hold
of the skin, I feel its grain, its thickness, its
hand, that is to say its fullness when it is fold-
ed, explains Carlos, a leather specialist at the
Asnieres workshop for the past thirteen years.
Then I cast my eye over it to check its color
and general appearance, and to spot any flaws.
Scars, for instance, show how the animal has
lived, he continues. Three, four or five skins
may be needed to make one bag, but only the
most noble parts are retained for Louis Vuit-
ton leather goods. Right from the start, there
must be no mistakes, emphasizes Carlos,
whose mission is to make a flawless selection.
Exotic leathers, which are infinitely precious,
are the subject of very special attention. Py-
thon, alligator, crocodile, stingray, ostrich or
lizard skin are preselected, then purchased
by the centimeter, before being deposit-
ed in a secure storeroom. For all these spe-
cies, each skin is accompanied by certifica-
tion guaranteeing its origin and traceability.
Python, alligator, crocodile, sting-
ray, ostrich or lizard skin are pur-
chased by the centimeter.
At no stage is anything left to chance. At the
start of the process, our sorters visit the tanner
to verify the color, the sheen, the size of the
scales and to estimate, using a template, where
on the skin the various pieces of a product will
be positioned, explains Carlos. Later, in Louis
Vuittons workshops, comes the task of pair-
ing to ensure the uniformity of the skins used
on any one bag. Here again, the eye and the
gloved hand work together to observe, eval-
uate and make the right choice. For perfec-
tion is a rule that brooks no approximation.
instinctive
upcompromising.
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With a bag, its often love at first sight,
followed by years of faithful commitment.
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T
he photo still sits on
top of the piano in our
home in Cabourg. Taken
one July morning in the
late 1930s, it shows my
grandmother Charlotte
disembarking on the
New York waterfront,
surrounded by trunks
and suitcases. It was
she who bequeathed
to me her love of Louis
Vuitton and her col-
lection of bags. She had
so many that she would
stack them up in her wardrobes like Russian dolls. For
my 18th birthday, Grandma gave me her leather Noe
bag with its beautiful patina. This precious inheritance
brought with it memories of my childhood, of our jour-
neys and of high spirits. I drew inspiration from the way
she wore it, just so, nonchalantly slung over her shoulder.
What she had left me was a little of her history and her
elegance. The bag was no longer an accessory; it had
become a talisman. As I made it my own, I learned that
any bag has a double life. The first the one inside is
a world apart, free of pretense, from appearances and
conventions. It represents its owners intimate dimen-
sion and safeguards her identity. The other life the one
outside is dazzling, willingly exposed for all to see.
To posses a beautiful bag gives you a sort self-con-
fidence. I felt stronger, more able to face the world.
I felt protected. I remember a recent photo of a ce-
lebrity, stepping out into a blaze of paparazzi flash-
bulbs, holding up her bad as if it were a shield.
One day, I too will pass on this bag, so lovingly
cared for, to my daughter. Fashions and lifestyle have
changed to much, yet the Neo has stood the test time.
It will pride that I look today at this testament to el-
egance and quality, this bearer of a precious mem-
ory, of profound emotions and immense affection.
Like a beautiful memory, it is passed from hand to had and generation to generation
H
ow might it be possible to transport elegant-
ly, and completely safely, five bottles of cham-
pagne? That was the question a produc-
er of the valuable wine asked Gasron-Louis
Vuitton in 1932. His response was to design the Noe.
Its light-colored leather and hold-all shape instant-
ly attracted women, who diverted it from its oe-
nological vacation and made it a timeless classic.
Like a beautiful memory, it is passed from hand to hand
and generation to generation so much so that the youth-
ful heiresses to a tradition of family elegance always
feel a frisson of emotion as they put in on their shoulder.
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I
n all types of weather, I go from planes to
trains, festival red carpets to war zones,
deserts to faraway cities. For a long time
now, it has been there, hanging from my
shoulder by its strap. I can feel it instant-
ly, a constant and reassuring presence be-
neath my palm. It stays my side, brushing
or bumping against me when a situation
forces me to run Together we have trav-
eled the length and breadth of counties,
covered miles of road, climbed mountains,
admired landscapes, photographed faces,
confronted dangers, and shared emotions.
It becomes a pillow in a cellar in Sarajevo,
a backrest under a canvas tent somewhere
near Timbbuku. Like my schoolboy satchel,
it has a very special smell. The smell of the
chamois leathers that protect my equipment,
the smell of sand, wind, gunfire and bon-
fire, the smell of sunsets too. It lives my life.
I have never liked reporters bags that advertise
their function, nor backpacks for that matter,
which are not much use when there is only
a split second to whip out my reflex camera.
I chose the Wichita bag, a discreet design that
enables me to travel light and go unnoticed. It
is essential in many circumstances. At once
my survival kit and my treasure chest, it holds
my two cameras, my passport, my invalu-
able multi-purpose pocket knife, a T-shirt, a
tightly folded sleeping bag, my cell phone,
my MP3 and my lucky charms, including a
miniature khaki metal combat helicopter en-
trusted to me by my son Tom, whos eight.
In my Wichita bag, everything has its place,
at my fingerprints. I know exactly how it is
arranged so that I can grasp the right case
or the right lens in a hurry. A fragile and
personal tie, almost like flesh and blood,
my bag is an extension of my arm, a part of
me. It is always within reach under a desk,
in a car or in a hotel room. And if, while
Im enjoying a drink at the sidewalk caf,
I suddenly miss its presence against my
leg, I start up in alarm. I simply cannot do
without it. It is the guardian of my memory.
Take off, come back, tell the sto-
ry, then y o ugun to the oth-
er side of the world, all alone, to
wherever history is being made
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thats a report-
ers life. On her
shoulder, a bag,
always the same,
her ally in adventure
and the bearer of all....
Its all about intimacy.
It becomes a pillow in a cellar in Sarajevo,
a back rest under a canvas tent somewhere near Timbuktu.
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Visit louisvuitton.com for more stories and suprising experiences.
Produceded and designed by:
Ying Ting Liu
Photo | Text credit: Louis Vuitton Melletire, Paris.
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