No one imagined it making it so far, and yet, the Speedy by Louis Vuitton is already 85 years old. It was in 1930 that George Vuitton, Louis’ son, imagined “L’Express”, a name that stemmed from the era’s fascination with new transportation methods. A shrunk-down version of the Keepall, the Express was equipped with a new invention from George himself: a revolutionary new canvas, the LV Monogram that would become the brand’s signature. But the real revolution resided in a brand new fabric: a coated canvas, perfectly waterproof, resistant, and light enough to replace the traditional leather. Ever since, Louis Vuitton bags have had the unique distinction of being indestructible; their design is just as infallible. 30 years after its launch, the Speedy attracted the attention of a certain Audrey Hepburn. At her behest, the brand came out with a miniature size of their Speedy. The French trunk maker conceived a minimalist style that perfectly suited Audrey’s elegance, this is how the Speedy 25 came to be. Benefitting from the unequalled aura of Audrey Hepburn, the bag transformed itself into a luxurious carry-all whose aesthetic was destined for neo urban Venuses in all their chic and modernity. In a world where practicalness reigns supreme, the Speedy is able to respond to a need for spacious storage capacity with its large interior pocket. A wide zipper facilitates access to its contents, protected by an engraved padlock, while a carrying it in the hand or wearing it on the shoulder is enough to perfect any look.
The Speedy is a legendary bag that, just like the most beautiful of its kind, has been revisited throughout passing time. Since its creation, it has been reworked countless times. Among its most famous incarnations are the spiked leather version, the nomad leather version, the red and beige striped version, and of course, the checked or monogram canvas versions released with a touch of mischief from Marc Jacobs. During the Jacobs era, the Speedy line was refreshed. Its aspects became more contemporary with new finishings, like the zipper pull or the brass rivets. But the real revolution resides in the American designer’s allowing of a myriad of artists to take on the object. The first to try his hand at it was Stephen Sprouse who, in 2001, dared splotch the luxurious canvas with bright pink rose graffiti motifs. Two years later, Japanese Pop master Takashi Murakami affixed a multicolour monogram to it, that has now become one of the brand’s signatures in its own right. In 2013, the arrival of Nicolas Ghesquière at the head of Louis Vuitton marked a return to basics. The new Speedy is purified and created around two color shades, while the discretion so near and dear to Vuitton’s heart becomes a veritable tradition. No matter its outer appearance, the Speedy will always remain immune of any faux pas, a subtly refined and totally sophisticated icon.
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