More than a market: How China inspires Louis Vuitton’s creativity

During the ninth China International Import Expo (CIIE) in 2026, Louis Vuitton presented an exhibition titled “Journey to China,” tracing more than a century of ties between the House and the country. Bringing together historical archives, travel trunks and contemporary creative works, the exhibition explored Louis Vuitton’s evolution in China through the lenses of business and culture. In a dedicated Asnières Salon, three travel trunks are on display. One, crafted by a Cantonese trunk-maker in the 19th century, has a leather exterior adorned with metal studs. Though not originally a Louis Vuitton creation, it later found its way into the private collection of Gaston-Louis Vuitton, a third-generation member of the Vuitton family. The connection between Louis Vuitton and China, then, predates the country’s emergence as a major luxury market. Over the past three decades, China’s significance to the House has grown beyond consumption, becoming a source of inspiration for its creative work worldwide. Through it all, the Art of Travel has remained central to Louis Vuitton’s approach to China. Before travel took off in China In Louis Vuitton’s “Journey to China,” the years 1997 and 1998 mark a chapter worth revisiting. The House had entered mainland China just five years earlier, yet it had already staged “The Spirit of Travel,” a traveling exhibition across five cities — Dalian, Beijing, Chengdu, Shanghai and Guangzhou — followed the next year by a classic car rally from Dalian to Beijing. Cultural exhibitions have since become commonplace among luxury brands, but such an investment was unusual at the time. Rather than waiting for its commercial presence to mature before communicating what the brand stood for, Louis Vuitton made the Art of Travel central to its long-term strategy in China from the outset. This gave the House a consistent narrative through which to connect different eras, travelers and destinations. Even as market conditions and media channels evolved, Louis Vuitton did not need to continually reinvent its core identity to attract consumers. At this year’s CIIE, “Journey to China” brings the House’s commercial growth and cultural exploration together, making that long-term strategy more apparent. But a consistent philosophy does not mean an unchanging approach. As Chinese consumers become more sophisticated, luxury brands face an ongoing challenge: finding ways to connect their heritage with contemporary life. From consumption to connection Three decades ago, consumers encountered luxury brands largely through a handful of boutiques. Today, China’s luxury retail landscape looks very different. As brands expand their store networks and social media becomes increasingly pervasive, consumers can easily discover new products and learn about brands without ever setting foot in a boutique. A prime retail location alone is no longer enough to sustain a brand’s appeal. The Louis, Shanghai, which opened in 2025, is one of Louis Vuitton’s responses to this shift. Its ship-shaped architecture pays tribute to Shanghai’s history as a port city. Inside, alongside the boutique, visitors will find an exhibition spanning the House’s travel trunks, craftsmanship, fashion and beauty, as well as dining spaces. Some may come simply to see the ship or have a coffee. Shopping is no longer the only reason to visit. Beyond its stores, the Louis Vuitton City Guides offer another way for the House to connect with cities. Through the perspectives of local writers, photographers and cultural figures, the guides document the streets, people and lifestyles that define each destination. Between 2023 and 2025, Louis Vuitton also staged cultural events in Shanghai, Beijing and Chengdu around the City Guides. Over time, these growing connections with local cultures have become a source of fresh inspiration for the House’s creative work worldwide. How China is reshaping luxury creativity As the timeline in “Journey to China” approaches the present, China-related creative projects with a global reach appear with increasing frequency. Together, they point to another dimension of China’s value to the luxury industry: beyond its vast consumer base, the country is becoming a source of creative inspiration for international luxury brands. In 2025, American photographer Alec Soth traveled to China to shoot a special installment of Louis Vuitton’s “The Spirit of Travel” campaign. He photographed iconic pieces, including the Horizon suitcase and Speedy bag, against the landscapes of the Li River in Guilin, the Hanging Temple in Datong and the sandstone peaks of Zhangjiajie. The campaign followed the House’s longstanding narrative of travel, with China serving as the destination and backdrop. If Alec Soth’s photographs used China as the setting for Louis Vuitton’s travel narrative, other projects have placed Chinese artists in the role of creators, bringing their own visual language directly into the House’s products. In 2016, Chinese artist Xu Bing drew on his signature work, “Square Word Calligraphy,” to create a Louis Vuitton trunk containing the traditional Four Treasures of the Study, adorned with his calligraphy. In 2020, Chinese artist Liu Wei incorporated sculptural petals into a Capucines bag for the “Artycapucines” collection. The spherical screws and rivets holding the petals in place echoed the House’s trunk-making heritage. By 2024, Louis Vuitton staged its Women’s Pre-Fall 2024 show at Shanghai’s Long Museum West Bund, with Women’s Artistic Director Nicolas Ghesquière inviting Chinese artist Sun Yitian to collaborate on the collection. The brightly colored animals in her paintings, resembling inflatable plastic toys, appeared on coats, dresses, handbags and perfume bottles. In September of the same year, Chinese artist Zhou Yilun reinterpreted two LV Trainer sneakers with flowing paint, their hand-dyed uppers giving them an unfinished look. The designs were part of “White Canvas: LV Trainer in Residence,” an artist collaboration series that debuted in Milan in 2023. From trunks and handbags to ready-to-wear and sneakers, these creations span several of Louis Vuitton’s core product categories. Neither “Artycapucines” nor “White Canvas” was conceived exclusively for China. Chinese artists were featured alongside artists from other countries within the same series. That shift is also reflected in “Journey to China” at the CIIE. Two objects from different eras — an antique travel trunk made by a Cantonese craftsman in the 19th century and a contemporary book trunk inspired by China’s Four Great Classical Novels — capture the evolution of Louis Vuitton’s relationship with the country. From an early cultural encounter to a source of inspiration for contemporary creations, China’s role in the House’s story has continued to evolve. For a brand that has operated in China for more than three decades, stores and exhibitions can be established in a matter of years. Building lasting relationships with Chinese cities and creative talent, however, takes much longer. The nearly three decades of cultural events and artistic collaborations documented in the exhibition show how those ties have deepened over time. Yet, Louis Vuitton’s journey in China is far from over. “Journey to China,” it turns out, is a story of movement in both directions: of a French luxury house finding its place in China, and of Chinese creativity finding its way to the wider world through the House’s enduring Art of Travel.

More than a market: How China inspires Louis Vuitton’s creativity

TUMI’s new growth playbook: From travel expertise to lifestyle performance

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More than a market: How China inspires Louis Vuitton’s creativity

TUMI’s new growth playbook: From travel expertise to lifestyle performance