L’eau de Voyage

Because no voyage is complete unless accompanied by fond memories.
And nothing evokes fond memories faster than an exquisite fragrance in an elegant glass bottle.
As delicate as our very existence. As enduring as the spirit of a true traveller.


Louis Vuitton perfume bottles designed by Camille Cless-Brothier in early 1920s.

L’Arbre pleureur, enameled crystal perfume bottle; design by Camille Cless-Brothier, 1922.


at the American Stock Exchange Building, through January 7th, 2018.

Admission is free

November 12th, 2017

LVoyage – Voyage

In the nineteenth century, the evolution of transportation reduced distances. Steam vessels were put into service in the 1830s, linking Europe to the Americas. Railways in 1848, the invention of the automobile in the 1890s, and the advent of commercial airlines in the 1900s ushered the world towards new habits and life experiences.

Travelling by train meant that one could relax in their sleeping car, socialize over a cocktail in the restaurant, daydream, work, test the latest fashion trends on their fellow passengers. And, more importantly, one did not have to travel light. Desk trunks, library trunks, whole wardrobe trunks, designed to make travelers feel at home away from home, were considered an integral part of an experienced, sophisticated traveler’s baggage. Portable chest (hasami-bako) in black lacquered wood with gold lacquer patterned using the hiramaki-e technique, Edo period, late 18th and 19th century

Ideale Library trunk in monogram canvas, 1927

Desk trunk in natural cowhide, once belonging to Frank J. Gould, 1928

Jenner & Knewstub Berry’s fitted travel bag in leather, ca. 1864

Client records. For each client the house creates a record detailing special orders and customization requests, 19th to 20th century

Milo Anderson, silk satin nightdress worn by Lauren Bacall in ”Young man with a horn”, 1950

Brettes hat/shoe trunk, vanity case in monogram canvas
Alzer suitcase and Stratos case, all once belonging to Lauren Bacall

Satellite suitcases, vanity case, Deauville bag in monogram canvas once belonging to Elizabeth Taylor

Jeanne Lanvin hostess dress, worn by Mary Pickford, Winter 1948-49


at the American Stock Exchange Building, through January 7th, 2018.

Admission is free

November 12th, 2017

LVolez – The art of traveling light

In the early twentieth century, Louis Vuitton closely followed innovators who, from the airship to the airplane, blazed new trails in the air. To equip aviators and then passengers, the Aéro trunk could hold ”2 pieces of clothing, 1 overcoat, 10 shirts, 3 nightgowns, 3 pairs of underwear, 3 waistcoats, 6 pairs of socks, 12 handkerchiefs, 1 pair of shoes, 18 detachable collars, gloves, ties and hats” all weighing less than 57 pounds. Its dimensions were identical to the Aviette, a more feminine version. 

The dimensions of the Aéro trunk were:
H12.99in x W32.28in x D18.11in
H33 cm x W82 cm x D46 cm

All things considering, an early twentieth century Aéro trunk would still be every airline’s darling, even in today’s ever restrictive rules and shrinking space.

Louis Vuitton by Marc Jacobs long dress and cropped jacket with long skirt, S/S 2013
Marceau travel bag in cotton canvas, attributed to Dora Maar, c. 1950
Champs-Élysées travel bag in cotton canvas, once belonging to Madame Henry-Louis Vuitton, ca. 1950

Louis Vuitton by Sofia Coppola, SC Bag in monogram canvas, 2009

Boris Lipnitzki
Outfits by Paul Caret, next to a Nieuport airplane equipped with a Delage motor, Le Bourget (Seine-Saint-Denis), 1929

Model of the Blériot XI airplane, 20th century

Heures d’absence perfume, 1927


at the American Stock Exchange Building, through January 7th, 2018.

Admission is free

November 12th, 2017

LVoyagez – A Roadtrip

Organized between 1924 and 1925 by André Citroën, the Croisière Noire was primarily an ambitions anthropological and technological mission. Traveling through Algeria, Mali and the Congo aboard vehicles (such as the Gold Scarab and Silver Crescent half-track) developed especially for this excursion, the crossing was marked by physical and technical achievements, as well as scientific, ethnographic and geographic accomplishments. The House of Louis Vuitton accompanied the expedition at the request of Mr. Citroën. Special orders [for photos, see first post of this series] were made so as to offer trunks that were suited to climate, modes of transport and the practicalities of daily life for the explorers (tea sets, toiletry kits, etc.). The second expedition organized by André Citroën, the Croisière Jaune, took place a few weeks before the official opening of the Colonial Exposition of 1931, with the objective of crossing the legendary Silk Road through Asia. 

Chauffeur’s kit in vuittonite canvas, 1910

Dornac, 100 à l’heure travelling coat in Scottish wool twill, ca. 1923

Ladies’ flat hand bags in Morocco leather, ca. 1910

Driving googles, ca. 1900

Louis Vuitton by Marc Jacobs coated cotton coat, F/W 1998-99

Special car trunk for motobloc vehicles in vuittonite canvas, ca. 1908


at the American Stock Exchange Building, through January 7th, 2018.

Admission is free

November 12th, 2017

Louis Vuitton – In the beginning

Yan Pei-Ming
Louis Vuitton as a young man, 2015

In 1906, a reference catalogue precisely inventoried items and luggage from Louis Vuitton. The trunks that would make the House a success were already there. 

Louis, Georges and Gaston-Louis Vuitton posing with craftsmen in the courtyard of the Asnières-sur-Seine workshops, ca. 1888

Collage workshop at Asnières-sur-Seine, ca. 1903

Ideale trunk in natural cowhide, ca. 1903 with accessories from the 1900s

Paris suitcase in natural cowhide leather, 1914

Restrictive trunk in monogram canvas, once belonging to Gaston-Louis Vuitton, ca. 1925

Shoe trunk for thirty pairs of shoes in monogram canvas, once belonging to Yvonne Printemps, 1926


at the American Stock Exchange Building, through January 7th, 2018.

Admission is free

November 12th, 2017

Next stop, Louis Vuitton

After Paris, Tokyo and Seoul, it had to make a stop in New York City.

Curated by Olivier Saillard and designed by artistic director and set designer Robert Carsen, the exhibition ”retraces the adventure of the House of Louis Vuitton from 1854 to the present” in ten chapters (previously they were nine but for New York a tenth one has been added, entirely devoted to America and the City).

So, let’s pack our bags and Fly, Sail, Travel for a few days, together with LV. Adventure and grand style guaranteed. What say you? We’ll start with a cruise…

Bed trunk in damier canvas once belonging to Gaston-Louis Vuitton, 1892
Speed bag in monogram miroir vinyl, F/W ’06-’07
Sylvie Fleury Vuitton bag, 2001
Azzedine Alaïa, Panthère Alma bag, 1996
Alzer suitcase in nomade natural leather, created for Wes Anderson’s film ”The Darjeeling Limited”, 2006

Back to front:
Steamer trunk in zinc once belonging to the Count de Pimodan, 1895
Special trunk in zinc, 1899
Suitcase in coated canvas, custom-made for the Yellow Journey, 1930
Louis Vuitton by Nicolas Ghesquière, Boîte Promenade Croisière in canvas, F/W ’15-’16
Jean Luce for the Manufacture de Sèvres china tea set bearing the Croissant d’Argent Imprint, emblem of Louis Audoin-Dubreuil, ca. 1920-1930
It sits on a Yellow Journey bed trunk in duralumin, 1930

Special car trunk in coated canvas, custom-made for the Black Journey, 1924
Special photographer’s trunk in vuittonite canvas once belonging to Albert Kahn, 1929
Special trunk in vuittonite canvas, 1906

Steamer  bag in cotton canvas once belonging to Gaston-Louis Vuitton, ca. 1901
Louis Vuitton by Nicolas Ghesquière City Steamer bag in leather, Cruise 2016
Steamer trunk in vuittonite canvas once belonging to Lili Damita, 1928
Lucien Lelong evening gown, 1937

Tennis shorts once-piece, ca. 1930
Beach shorts once-piece, ca. 1930
Old England coat with belt, ca. 1930
Summer dress with belt, ca. 1930-32
Steamer bag in leather, 1938

Ensemble in crêpe de chine with a black and ivory pattern, ca. 1935
Steamer bags in cotton canvas, 1901
Callot Soeurs evening gown in rust-coloured silk velvet, ca. 1935


at the American Stock Exchange Building, through January 7th, 2018.

Admission is free

November 12th, 2017

Counter-Couture @ MAD

Mid-March was icy-cold here in New York; the City was covered in snow. But spring was around the corner and summer a hop, skip and a jump away. And not just any summer – this year marked the 50th anniversary of the legendary San Francisco Summer of Love, in 1967.  There would be a ton of events to celebrate it on West Coast later on but, here we were, in New York City, in full winter attire, off to see ”Counter-Couture: Handmade Fashion in an American Counterculture”, an exhibition of handmade dresses and accessories made by those free-spirited crafts-men and women who, in their rejection of the establishment of conformism, materialism and consumerism, went on to create some of the most original, superbly crafted designs, examples of which you are about to see below. They were the Hippies, the Flower Children, those young, idealists who struggled for equality and peace but got lost in their quest to reach those higher – LSD infused – levels of consciousness. They were men and women of my generation and they helped shaped me – and others like me – into the characters we have become today. Imagine how the world would have been, had they not got lost on their way.

Images from the exhibition

Michael Fajans
Hand-embroidered and appliqué Army Coat, 1967

Janet Lipkin
”Paisley”: Coat for Sylvia Bennett, c. 1970

Barbara Ramsey’s coat and jeans exemplify the Counterculture’s resourcefulness and need for self-expression. Each small patch bears a story or memory of its own and forms a scrapbook of life experiences – worn by the person who lived them.

In 1971 Ramsey was given a ragged, wool-lined coat that she patched with fabric. As time passed, she sewed layers of patches made from other worn-out clothes onto the coat. Ramsey applied a similar process to a pair of jeans and eventually completed the outfit.

Barbara Ramsey
Medical School Outfit, 1971-75  


100% Birgitta (Birgitta Bjerke)’s crocheted coats for Roger Daltrey of The Who and his then wife Heather recall the psychedelic visual culture of the 1960s rock-and-roll scene. Displayed flat on the wall, the garments – constructed in fan shapes – vibrate with kaleidoscopic colours that suggest blossoming flowers, Tibetan mandalas, and patterns inspired by Indian textile traditions.

Dancepiece by Leslie Correll, 1971
Hammered brass, Turkish beads, African (Venetian) trade beads mounted on old Indonesia batik fabric


Kaisik Wong’s evening ensembles (above) and Yellow and Green Ray dress and headdress (below) from the ”Seven Ray” series, 1974. 

Mama Cass Elliot Dress (below left) c. 1967.
Cass Elliot was a member of The Mamas & the Papas. The panne velvet dress she wore, with its gentle ombré gradient colour, brings to light the dreamy character of her stage presence. Celebrated as a sex symbol and role model for young women of her generation, Elliot donned theatrical styles that showcased her dynamic personality and held the attention of her audiences and fans. The appliqué sunburst on the front of the bodice depicts Virgo, Elliot’s astrological sign, while reflecting the Counterculture’s interest in self-exploration through the study of cosmology. 

SAS Colby – Ruffle My Feathers, 1972

Fayette Hauser, Cosmic Gypsy Ensemble, 1970

Gretchen Fetchen (Paula Douglas). Acid Test Dress and Boots, 1965.

Gretchen Fetchen was one of the early participants in the San Francisco Acid Test happenings organized by Ken Kesey’s Merry Pranksters in the mid-1960s. The events were designed as gatherings to promote consciousness expansion and creativity through the use of LSD which was then legal. 

Counter-Couture: Handmade Fashion in an American Counterculture was on show at

The Museum of Arts and Design (MAD)
2, Columbus Circle
New York City

March 12th, 2017

9. Rei Kawakubo || Object / Subject – Hybrid Bodies / Radical Forms

A radical rethinking of the human form. Accompanied by excerpts from Merce Cunningham’s Scenario dance performance of 1997, with costumes from the Body Meets Dress / Dress Meets Body line, in all their ”lumpy and bumpy” glory.

Hybrid Bodies conclude our tour into the avant-garde universe of Rei Kawakubo/Comme des Garçons: Art of the In-Between @ The Met Fifth Avenue.

But we’ll stay in UES a little longer.

August 6th, 2017