Louis Vuitton builds its latest campaign around a simple gesture. Open the bag and reveal what matters. With “In My Bag,” the house places the Speedy P9 at the center of a series of still-life images and short videos, where personal belongings define each portrait. The campaign gathers Jeremy Allen White, Jude Bellingham, Future, LeBron James, Jackson Wang, and Victor Wembanyama, each presenting a version of the bag shaped by routine, profession, and personal rhythm.
BAGS
The Speedy P9 traces its origins back to one of Louis Vuitton’s most established designs. First introduced in the 1930s, the Speedy became a defining travel companion. Under the direction of Pharrell Williams, the house revisits this model and shifts its proportions and material expression. The P9 name references the Pont-Neuf in Paris, linking the bag to the location of his debut runway. The update focuses on calfskin treated through a double tanning process and drum milling, resulting in a soft, flexible surface with a waxed finish that responds to use over time.
The campaign does not rely on styling alone. It builds each image through the contents of the bag. Jeremy Allen White fills his green Speedy P9 with a daily mix of objects, including a newspaper, notebook, cap, and small essentials that suggest movement between work and downtime. Jude Bellingham’s red version holds items tied to travel and sport, from aviators and documents to a jersey and fragrance. Each object points to a schedule shaped by constant transition.
Future approaches the bag through contrast. His blue Speedy P9 combines performance and personal detail, pairing a tennis racquet with jewelry, candy, and sneakers. LeBron James introduces a different rhythm. His yellow bag holds golf accessories alongside grooming products, forming a compact set that reflects time spent between training and recovery. These selections avoid excess and focus on use, presenting the bag as a functional container rather than a static object.
Jackson Wang’s pink Speedy P9 moves toward memory and process. Headphones, music notation, and a Polaroid photograph create a direct link between work and personal history, while smaller objects such as a Rubik’s Cube and miniature sneaker add layers of reference. Victor Wembanyama completes the series with a teal version that includes a mini basketball, cards, and headphones, combining elements tied to both routine and personal habit.
Photographed by Thomas Lagrange, the campaign shifts attention away from the exterior of the bag and toward what it carries. Each composition functions as a portrait without relying on the body. The Speedy P9 becomes a structured frame that holds fragments of identity, turning the act of packing into a visual language.
