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Louis Vuitton Outlet Story: As travel changed, so did luggage

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As travel changed, so did luggage. That’s the story told by an elaborate exhibition about Louis Vuitton Outlet, the luxury luggage and fashion brand. (Louis Vuitton)

NEW YORK (AP) — As travel changed, so did luggage.

That’s the story told by an elaborate exhibition about replica Louis Vuitton, the luxury luggage and fashion brand.

The exhibition, free to visit and on display in Lower Manhattan through Jan. 7, is called “Volez, Voguez, Voyagez,” which means fly, sail, travel. It showcases the company’s history, products and craftsmanship, demonstrating how designs changed with the evolution of travel. Luggage was designed first for transport by wagon, then for travel by sea, on trains, in cars and planes.

Trunks and replica handbags are shown behind glass like works of art in a series of museum-like galleries. Lids open to reveal intricate compartments as if they were the contents of treasure chests. Included are cases and carriers designed for everything from toiletries to hats, from picnics to art supplies. Trunks with small drawers protected fragile objects; standing trunks had roll-out wardrobe racks so clothes could be hung, not folded. A plane is on display, along with a boat.

There’s even a room where human artisans show how they cut leather and snip threads for luggage tags and handles, living proof of the craftsmanship behind the brand.

The company’s history begins with Louis Vuitton outlet himself. He started a trunk-making business in Paris in 1854 after leaving his village in eastern France and working for a box-maker. His designs were strong but light, distinguished by patterned motifs. The luggage has been a favorite of the rich and famous going back to Napoleon’s wife Empress Eugenie, with later clients ranging from artist Henri Matisse to banker J.P. Morgan. John Wanamaker began to sell Vuitton luggage in his American department stores after meeting Louis’ son at the 1893 Chicago World’s Fair. The brand remains a favorite today among celebs from the worlds of fashion and Hollywood.

The exhibition’s timing coincides with the holiday shopping season, and the location is in New York’s financial district. But most visitors will likely lack the means to buy Vuitton products, which can run in the thousands of dollars. Still, attention-getting temporary displays like this are becoming a standard way for brands to tell their story.

“Many of these replica brands pop something up, draw a big audience, get some publicity, get reporters to talk about it,” said Larry Chiagouris, professor of marketing at Pace University’s Lubin School of Business. “You don’t need to be there 12 months a year. You just need to establish a little publicity and move on.”

Chiagouris says this type of showcase can also be far more effective than a traditional ad campaign. “Ads are very fleeting and don’t generate the kind of independent interaction with a brand the way an exhibit would,” he said. A show like this “takes something that has almost become wallpaper and suddenly puts it into your current mindset and consciousness.”

Exhibitions also give designers the space and flexibility to fine-tune their message. In this case, the subdued, museum-like atmosphere creates a “mood that reflects the brand, somewhat elegant and somewhat understated,” he said.

Pace University’s Manhattan campus is near the exhibition site, and Chiagouris said his students have been buzzing about the Vuitton show. They’re working on a competition among business schools to come up with a campaign for Ocean Spray, the cranberry brand, and the concept of telling a company’s story this way, through history, products and workmanship, resonated with them.

“It’s an interactive experience not because of electronics or pressing a button,” he said, but because “you get a sense of the identity of the brand.”

New Louis Vuitton’s Cult Collectable: A Monet-Printed Replica Handbag

As the second installment of the brand’s collaboration with Jeff Koons is announced, we choose our favourite figuration of an iconic Old Master

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When, in April of this year, Louis Vuitton presented a collaboration with Jeff Koons that saw a selection of its most beloved replica handbag styles printed with some of art’s most iconic images, it went down with resounding success.

In fact, so quickly did the first Mastered series earn cult covetability that today they have announced a second edition, starring the likes of Manet, Turner and Gauguin. In an industry that so often seeks to surreptitiously align itself with the art world, there is something brilliantly explicit about simply printing luxury replica handbags with reproductions of history’s most revered paintings; it is weird, and witty. These are Old Masters rooted in our cultural consciousness, just as replica Louis Vuitton itself is (albeit in a very different domain), and it’s quite remarkable to see them refigured in a newly consumable context.

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It’s sort of hard to choose a favourite – Manet’s Luncheon On The Grass is appealing for the controversy it wrought on Nineteenth Century Parisian salons (imagine how they’d feel about a fake handbag); Turner’s vision of Ancient Rome speaks to our British patriotism. But, if you forced our hand, it would be towards the Monet: the famous water lilies and reflective metallic letters printed upon a Neo Neu tote is a whole new level of kitchsy chic. And so, come its October 27 launch date, we can’t imagine we’ll be the only people heading to Louis Vuitton outlet.

Supreme Court Rejects Cheap Louis Vuitton’s Appeal Over Parody Tote Bags

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The UK Supreme Court refused to revive a trademark suit against a company that sells tote bags featuring cartoon images of Cheap Louis Vuitton’s iconic luxury goods.

Turning away an appeal by LVMH’s Louis Vuitton outlet unit, the justices left intact a federal appeals court ruling that said My Other Bag Inc. was selling permissible parodies. The challenged totes say “My Other Bag …” on one side with an image of a far more expensive Louis Vuitton replica bag on the other.

The case is cheap Louis Vuitton Malletier v. My Other Bag, 17-72.

You might not know about replica Louis Vuitton

Louis Vuitton elevated travel to an art, with his revolutionary trunks laying the foundations of the colossal luxury emporium that bears his name.

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It will come as no surprise to anybody that Louis Vuitton is the undisputed king of luxury. With a brand value of $29.2 billion in 2017, Louis Vuitton is the leader of the luxury pack, outstripping houses like Cartier, Chanel and Hermès.

What might come as a surprise, though, is the fact that this giant luxury label did not start life in the lap of luxury: far from it. Diligence, ingenuity and the invention of the flat-topped stackable trunk were behind Louis Vuitton’s rags-to-riches tale. Join us on this fact-filled journey and discover how an impoverished runaway built an empire on a trunk.

Travelling in style

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Creature comforts: Louis Vuitton’s ingenious trunk bed was often taken on colonial expeditions.

With the advent of more extensive and exotic shipping and train routes, travellers and explorers needed specific luggage to transport their kit. Commissions poured in and replica Louis Vuitton crafted luggage and boxes for a new generation of affluent men and women on the move, converting a necessary, utilitarian item into a luxury product.

One of Louis Vuitton’s most popular products was the deluxe vertical steamer trunk, a portable wardrobe with compartments and hanging space, allowing a traveller to dress without having to unpack. Other curiosities included a leather box designed to house all the volumes of Proust’s masterpiece In Search of Lost Time and a box for the Maharaja de Baroda, once the ruler of India’s most powerful princely states, to transport his silver tea set while travelling. Another ingenious invention was Louis Vuitton’s trunk with a folding bed, below, designed for the French explorer Pierre Savorgnan de Brazza for his expedition to the Congo in 1876.

Flat-top trunks: the birth of modern luggage

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Louis Vuitton’s 1858 flat-topped, rectangular trunk, covered in Trianon grey canvas. Lightweight, airtight, water-resistant and odourless, this trunk revolutionised luggage.

Producing beautiful trunks was not enough for this pragmatic impresario. In keeping with the realities of travelling to exotic destinations, his trunks would be able to take a beating and still look brand new. They would be lighter, more resilient, with an entirely new physiognomy.

One of the biggest problems with conventional trunks in the 19th century was the dome-shaped lid, making them impossible to stack and occupying valuable space in the hold. Vuitton’s Eureka moment came in 1858 with the creation of a flat-topped, rectangular trunk that could be stacked. Instead of using hide to cover the flat-top trunks, which could get mouldy and smelly in the tropics, Vuitton used canvas over the poplar wood frame. Lightweight, water-resistant, airtight and odourless, his distinctive Trianon grey canvas trunks became the must-have travel gear for affluent globetrotters.

The iconography of a brand

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Eye-catching monograms were painted on luggage allowing porters to pick out their patron’s belongings at a glance. These distinctive tags have been revisited to decorate the rotating hour cubes of the Escale Tambour Spin Time watch.

There was one problem, though: all the luggage looked the same. The scramble played out on chaotic quays and railway platforms around the world, with porters struggling to identify the luggage of their clients, prompting Louis Vuitton to offer his customers a simple solution in the form of a bespoke tag.

Anything was possible and eye-catching monograms, crests, stripes, initials and geometric motifs in bright colours were painted on the luggage, allowing porters to pick out their patron’s belongings at a glance.

Downsizing from trunks to replica bags

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Contemporary renditions of the supple Keepall travel bag and the Noé bag of 1932, which was originally designed to transport five bottles of champagne ©Louis Vuitton/Jean-Marie Troude.

During World War I, the Louis Vuitton outlet factory in Asnières was used to make folding stretchers for the front and luxurious products were temporarily taken out of production. However, by the late 1920s the world’s richest and most stylish clients were placing orders again. Coco Chanel, the Aga Khan, the Duke and Duchess of Windsor and the Vanderbilts were devoted clients of the brand, and even the legendary American pilot Charles Lindbergh ordered two suitcases after his epic transatlantic flight in 1927.

Many of the most desirable Louis Vuitton replica handbags available today are in fact the descendants of models introduced at the turn of the last century. The famous Alma bag can trace its ancestry to the Steamer bag, a humble linen and night bag designed to keep trunk drawers tidy and your dirty clothes separate from your clean ones.

The Keepall bag appeared in 1930 and, as its name suggests, was a handy supple travel companion that could be stuffed with goodies. The Noé bag of 1932 was originally conceived to transport five bottles of champagne and its bucket shape is still going strong.

A global luxury empire is born

Ten years after the merger with LVMH in 1987, the board of directors felt it was time to venture beyond luggage and recruited star designer Marc Jacobs to create the first men’s and women’s ready-to-wear collections. Succeeded by Nicolas Ghesquière in 2013, the creative designer has rejuvenated the LV monogram and insisted on incorporating the replica LV monogram in just about any product imaginable.

Louis Vuitton is the goose that lays the golden eggs for LVHM, tempting consumers from all income brackets to enter its luxury portal with products ranging from a £180 bottle of perfume to a high jewellery diamond and tourmaline necklace worth millions.

Luxury Louis Vuitton seeks Supreme Court review of parody case

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Fashion house Louis Vuitton has filed a petition for a writ of certiorari with the US Supreme Court in a parody dispute with a company called My Other Bag.

The July 13 petition follows the US Court of Appeals for the Second Circuit’s decision to deny rehearing the case after it had affirmed a lower ruling that rejected Louis Vuitton’s claims.

Louis Vuitton had filed a trademark claim against MOB, alleging that tote bags featuring drawings meant to evoke iconic handbags on one side and “My Other Bag” on the other infringed and diluted its famous brand. It also argued that MOB infringed its copyright.

But in 2016 the fashion company’s case was rejected at the US District Court for the Southern District of New York, before the Second Circuit upheld the decision. In February this year, the appeals court refused to rehear the case.

When surveyed, WIPR readers were closely split over whether the Second Circuit should have agreed to rehear the parody dispute: 55% of respondents believed the court should not grant the appeal, with one reader claiming that the case was “trivial”.

In its rehearing request, Louis Vuitton said the Second Circuit based its finding of a parody “solely on its subjective view” that the replica handbags were “obviously a joke”.

The fashion company added that the court “made no mention of the record evidence” that established that “consumers did not perceive MOB’s products as a joke, or even social commentary, but rather as a fashion accessory to complement, or even substitute for, the LV replica bags they owned or wanted”.

If the Supreme Court takes on the case, it would see the justices tackle yet another fashion-related IP case in recent times.

In March this year, the court ruled in Star Athletica v Varsity Brands that decorative elements of a cheerleading uniform may be protected by copyright law, in what one lawyer described as a “sigh of relief for fashion innovators and IP lawyers alike”.