{"id":358323,"date":"2021-10-01T14:00:33","date_gmt":"2021-10-01T18:00:33","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=358323"},"modified":"2024-07-03T12:32:42","modified_gmt":"2024-07-03T16:32:42","slug":"louis-vuitton-handbag-collaborations","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/louis-vuitton-handbag-collaborations\/","title":{"rendered":"Inside Louis Vuitton\u2019s Most Popular Handbag Collaborations"},"content":{"rendered":"\n
\"Louis<\/a>
Clockwise from top left: Graffiti Stephen Sprouse Speedy 30 bag<\/a>; Supreme Danube red epi crossbody bag<\/a>; Murakami rainbow mini Speedy top handle bag<\/a>; Monogramouflage coated canvas Murakami Speedy 35<\/a>; Yayoi Kusama Papillon bag<\/a><\/figcaption><\/figure>\n\n\n\n

Once upon a time, Coco Chanel<\/a> designed costumes for Serge Diaghilev\u2019s avant-garde Ballets Russes, Surrealist<\/a> art graced the cover of Vogue, <\/em>and Elsa Schiaparelli<\/a>, the couturier who considered herself an artist first<\/a>, collaborated with Jean Cocteau<\/a> and Salvador Dal\u00ed<\/a>.<\/p>\n\n\n\n

Marc Jacobs<\/a> knows this history, and in his early days as creative director of Louis Vuitton<\/a>, when he was still feeling his way as a New Yorker in Paris, it stirred his imagination. \u201cI started to think in romantic terms,\u201d he later explained to Interview<\/em> magazine<\/a>, \u201cand I always thought back to the time of Schiaparelli and Chanel and Cocteau, when all of these creative people seemed to be doing things together, . . . and fashion<\/a> and art<\/a> had a dance, you know?\u201d<\/p>\n\n\n\n

Jacobs wanted to dance that dance, too, and partnered with his own, contemporary set of unconventional creatives. In doing so, he \u201cset forth the motion for all of the street x luxury collabs we are seeing today,\u201d says Steven Bond, director of fashion seller CRTBLNCHSHP (formerly Carte Blanche<\/a>). \u201cIt influenced future designers to include art and street sense in their designs, adding elements of cool street style and edge to classic collections. It brought the art and fashion world closer together and opened up doors for artists and street-wear brands in the luxury market.\u201d<\/p>\n\n\n\n

Ultimately, Jacobs’s urge to \u201cdo things\u201d with other creators gave a glorious but slightly dusty old ship a fresh patina. Collaborations became a big story. In fact, Vogue<\/em> covered Vuitton\u2019s first collab with Stephen Sprouse<\/a> three times in one season \u2014 unprecedented before or since. <\/p>\n\n\n\n

This cooperative model has become a mainstay of the brand, whose creative partners have ranged from artists Richard Price<\/a>, Jeff Koons<\/a> and Urs Fischer to fashion icon Grace Coddington<\/a>. And the legacy is being carried on by Virgil Abloh<\/a>, who took over as men\u2019s artistic director<\/a> in 2018. His first collab in his new role, in 2020, was with Japanese designer Nigo<\/a>, of A Bathing Ape<\/a>.<\/p>\n\n\n\n

Here, we look at four of the most influential Louis Vuitton collabs.<\/p>\n\n\n\n

\n\n\n\n

Steven Sprouse<\/strong><\/h2>\n\n\n
\n
\"Stephen<\/a>
Stephen Sprouse monogram green graffiti Neverfull GM tote, 2000-2009<\/a><\/figcaption><\/figure><\/div>\n\n\n

While visiting his friend French singer\/actress Charlotte Gainsbourg, Jacobs noticed an old Vuitton trunk<\/a>, its canvas painted over in black with the color wearing away in places. Although he’d been told in no uncertain terms that he was never<\/em> to mess with Vuitton\u2019s logo<\/a>, the transformed trunk sparked a thought.<\/p>\n\n\n\n

\u201cI had this idea to kind of deface the monogram,\u201d he said<\/a> in a 2013 interview. \u201cI wanted to do that with graffiti, which to me was always a kind of defiant act, a rebellious act and an anarchic act \u2014 but also something that creates . . . a new meaning.\u201d <\/p>\n\n\n\n

Jacobs knew just the person he wanted to work with. Designer and artist Steven Sprouse was an influential presence in the downtown New York City scene of the 1970s and \u201980s. He dressed singer Debbie Harry<\/a>, and \u201calong with friends like Steven Meisel<\/a>, Anna Sui<\/a> and Terry Toy, ruled the bathroom at the Mudd Club,\u201d says Jessica Glasscock, professor at Parsons School of Design, referring to the gritty performance venue frequented by downtown artists and musicians.<\/p>\n\n\n\n

Jacobs knew Sprouse and admired him. \u201cThere was hearsay that Jacobs would not do graffiti without Sprouse,\u201d says Glasscock. \u201cSprouse, as a designer, would have been very familiar with this idea of collaboration,” she adds. “He had done collaborations as far back as the 1980s with Keith Haring<\/a> and with Andy Warhol<\/a>.\u201d <\/p>\n\n\n\n

It was through his collab with Vuitton, however, that he became a fashion immortal. The resulting limited-edition handbags, sporting Day-Glo graffiti, debuted on the Spring\/Summer 2001 runway and were an immediate hit. In 2009, Vuitton released a tribute collection (Sprouse died in 2004) that featured two of Sprouse’s favorite versions \u2014 in a rose print and in a leopard print. <\/p>\n\n\n\n

\n\n\n\n

Murakami<\/strong><\/h2>\n\n\n
\n
\"Louis<\/a>
Louis Vuitton Murakami white multicolor monogram coated canvas and vachetta Alma PM, 2003<\/a><\/figcaption><\/figure><\/div>\n\n\n

The first Louis Vuitton x Murakami<\/a> bags appeared on the Spring\/Summer 2003 runway, accessorizing a parade of Peter Pan\u2013collared day dresses in pastel duchesse satin. The bags were instant icons. \u201cGirl nation was thrown for a loop,\u201d Vogue<\/em> reviewer Sarah Mower noted at the time. Soon enough, the excitement went international. Sales and waiting lists grew, as did sightings of celebrities carrying the new \u201cit\u201d bag. <\/p>\n\n\n\n

Its origin was simple enough. After attending a Takashi Murakami<\/a> show at the Cartier Foundation, in Paris, Jacobs asked himself<\/a>, \u201cI wonder if that guy would ever be interested in collaborating on something for Vuitton?\u201d<\/p>\n\n\n\n

He sent an email to the Japanese Pop<\/a> artist, and soon, the two were brainstorming ideas for combining \u201cthe spirit of Takashi and the history of Vuitton.\u201d The Monogram Multicolor they came up with was dubbed by Vogue<\/em> the \u201cdefining collaboration of the noughties<\/a>.\u201d<\/p>\n\n\n\n

\u201cLouis Vuitton very rarely launches collaborations more than once,\u201d says Reece Morgan, head of operations for fashion and accessories source Xupes. \u201cBut the beauty of the relationship with Murakami is that they have provided us with iconic collections from Louis Vuitton that will live on for a lifetime.\u201d<\/p>\n\n\n\n

Later collections included the Cherry Blossom<\/a>, in 2005, and the Monocamoflauge, which launched in 2008 with a retail price of around $1,500. \u201cThis [Monocamoflauge] Speedy 35<\/a> now resells for more than $9,000, 13 years on,\u201d says Morgan. \u201cQuite the investment.\u201d<\/p>\n\n\n\n

Although the Vuitton x Murakami collab ended in 2015, interest in the fruits of the partnership remains strong. According to Morgan, \u201cWith Y2K fashion and the Paris Hilton era having a resurgence, we are seeing increased demand and receiving lots of requests for Multicolor bags.\u201d <\/p>\n\n\n\n

\n\n\n\n

Yayoi Kusama<\/strong><\/h2>\n\n\n
\n
\"Louis<\/a>
Louis Vuitton Yayoi Kusama Neverfull MM tote, 2012<\/a><\/figcaption><\/figure><\/div>\n\n\n

By the time Louis Vuitton x Kusama<\/a> was unveiled, in 2012, Jacobs had become less rebellious. Yayoi Kusama<\/a>, age 83 at the time of the launch, is an artist who deals with obsession, often expressed through her favorite graphic form<\/a>: polka dots (or \u201cinfinity nets,\u201d as she terms them). A longtime Kusama fan, Jacobs saw the collab as an opportunity to share her vision with a wider audience. \u201cFor many people who don’t look at art or go to galleries,\u201d he told Vogue <\/em>at the time, \u201cthere will be a new venue, a new place to see this work and to come to appreciate it through the eyes of Louis Vuitton.\u201d<\/p>\n\n\n\n

This was Vuitton’s biggest launch to date, timed to coincide with Kusama retrospectives at Tate Modern, in London, and the Whitney Museum of American Art, in New York. The collection went beyond handbags, with skirts, tops, shoes and scarves also getting the red-dot treatment. And don’t forget real estate: Across the globe, Vuitton store exteriors were swathed in polka dots, while windows and interiors became alternative universes where visitors could enjoy Kusama\u2019s \u201cworld that never ends,” as Vogue <\/em>put it in a 2012 profile of the artist. <\/p>\n\n\n\n

\u201cThis kind of collaboration is fashion looking outside of its own myopic ideas \u2014 deciding on a length of a hemline, for example,\u201d says Glasscock. \u201cIt can shake a house up a little bit to be a part of someone else\u2019s world building. For example, Kusama benefited from this collaboration in a tremendous way, and it also expanded the reach of Vuitton\u2019s work.\u201d <\/p>\n\n\n\n

\n\n\n\n

Supreme<\/strong><\/h2>\n\n\n
\n
\"Louis<\/a>
Louis Vuitton X Supreme Keepall 45, 21st century<\/a><\/figcaption><\/figure><\/div>\n\n\n

Louis Vuitton and Supreme<\/a> have both always operated with an absolute understanding of their customer. In the 19th century, Louis Vuitton created a waterproof canvas to protect the valuable contents of trunks used for intercontinental train travel. In the 20th century, Supreme<\/a> founder James Jebbia hung merch on his first store’s walls<\/a> instead of the selling floor, so his customers could skate in, unobstructed, from the street.<\/p>\n\n\n\n

For many years, these two worlds \u2014 luxury and street \u2014 were totally separate domains. But a bridge joining them developed steadily during the first decades of the 21st century. Vuitton x Stephen Sprouse<\/a> edged the legacy brand toward the street, while Supreme\u2019s 2012 collaboration with Comme de Gar\u00e7ons<\/a> married street cred to high style. <\/p>\n\n\n\n

Around 2016, rumors started. Jebbia was spotted in the first row at a Vuitton menswear show. Could it be? Could it be? It could. The collab hit the runway in 2017. \u201cCome all ye hypebeasts,\u201d announced Office<\/em> magazine<\/a>. \u201cToday\u2019s Louis Vuitton Fall\/Winter menswear show featured official Supreme x LV items, and the internet is freaking out.\u201d <\/p>\n\n\n\n

\u201cIt was very exciting to see a subversive American street-style brand collaborate with an established high-fashion French brand like Louis Vuitton,\u201d says Airee Edwards, owner and founder of Agora Vintage<\/a>. \u201cI think it proves how far American taste and style has come.\u201d<\/p>\n\n\n\n

Sales demonstrated the allure of the pairing: LVMH reported a 23 percent increase in profits<\/a> in the first half of 2017, which it credited to the Supreme collab. Hardly surprising, as the hoodies, T-shirts, leather goods and general assortment of items that made up this pinnacle of all drops sold out immediately. <\/p>\n\n\n\t

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\n\t\t\t\t\"LV\t\t\t<\/div>\n\t\t\t
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\n\t\t\t\t\t\tShop Louis Vuitton Handbags on 1stDibs\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/a>\n\t\t\t\t\n\t\t\t\t\tView All<\/span>\n\t\t\t\t<\/a>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n","protected":false},"excerpt":{"rendered":"

Once upon a time, Coco Chanel designed costumes for Serge Diaghilev\u2019s avant-garde Ballets Russes, Surrealist art graced the cover of Vogue, and Elsa Schiaparelli, the couturier who considered herself an artist first, collaborated with Jean Cocteau and Salvador Dal\u00ed. Marc Jacobs knows this history, and in his early days as creative director of Louis Vuitton, 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