Louis Vuitton transforms the Balcon d’Honneur of the Grand Palais into a celebration of artistic exchange, bringing together seven years of Artycapucines creations, original artworks, and a new addition dedicated to Keith Haring.

For Louis Vuitton, the Capucines has become more than an emblem of leather craftsmanship. Since 2019, the iconic bag has served as a canvas for artistic experimentation, inviting contemporary artists to reinterpret its distinctive silhouette through their own visual languages.&nbsp;
This year, the House revisits that evolving dialogue with a retrospective at the Grand Palais, bringing together 14 artists in a presentation that blurs the boundaries between fashion, art, and design.
Staged on the Balcon d’Honneur as part of Art Basel Paris 2026, the exhibition traces the breadth of the Artycapucines project through a compelling juxtaposition of bags and the artworks that inform them. Among the highlights is the unveiling of a new collection dedicated to Keith Haring, whose instantly recognisable visual vocabulary introduces another chapter to the ongoing collaboration between artistic imagination and Louis Vuitton’s sartorial elegance.

The introduction of the Keith Haring Artycapucines collection provides a focal point for the retrospective. Presented alongside a Louis Vuitton suitcase from the 1930s, signed by Haring in the 1980s, the collection connects the artist’s legacy with the House’s history of travel and personal expression.

Haring’s visual language, defined by dynamic figures and symbolic motifs, lends itself naturally to the project’s spirit of reinterpretation. Across the new bags, miniature figures, a running heart, and chains of decorative symbols animate the surfaces, translating the artist’s graphic presence into the intricate world of luxury leather goods.

Aside from Haring’s tribute, the retrospective is also supported by a vibrant exchange between Alex Israel’s Cut-Out-Fin (Golden Hour, 2019), an acrylic work on a laser-cut and collaged support, and the artist’s 2023 Artycapucines creation, distinguished by its own fin-shaped elements. Nearby, Urs Fischer's Fruits (2026) establishes a playful dialogue with a bag featuring a suspended banana, while Sam Falls’ Western Wind (2025) echoes the botanical sensibility of his foliage-inspired design. Tschabalala Self’s Kitten (2026), which combines painted and textile elements, similarly reflects the layered compositions that define a distinct approach to the Capucines.&nbsp;
Painting assumes different dimensions in the works of Josh Smith and Henry Taylor, both participants in the 2020 edition of Artycapucines. Smith’s Untitled (2019) brings the bold lettering and saturated colours associated with his name paintings into conversation with his bag, transforming familiar graphic gestures into a three-dimensional form. Taylor’s A Young Master (2017), meanwhile, offers a point of connection with a Capucines design that transposes his distinctive approach to portraiture into leather.

Material experimentation takes centre stage in Gregor Hildebrandt’s Ich möchte eiskunstlaufen (Lebanon Hanover) (2019), a work made with cassette tape. Its graphic rhythms and contrasting surfaces resonate with the artist’ 2021 interpretation of the Capucines.
Kennedy Yanko’s Because of its blues (2025), composed of metal and paint skin, shares a sculptural sensibility with her 2022 Artycapucines creation, whose form appears crumpled and painted.
For Liza Lou, repetition and meticulous handwork become the foundation of her artistic vocabulary. Her Lost Blue (2022), constructed from painted glass beads, presents an intricate surface that finds a counterpart in her 2023 bag. Billie Zangewa’s embroidered-silk work Soldier of Love (2020) brings a more intimate, figurative dimension to the exhibition, accompanied by her own contribution in embroidered silk.
The historic suitcase adds another dimension to the presentation. More than an archival object, it serves as a reminder that the relationship between art and Louis Vuitton has long extended beyond formal collaborations, often emerging through personal encounters and the transformation of everyday objects into individual expressions.
Murakami’s Monogramouflage Skull (Black) (2008) is also presented alongside his Capucines XXL Camo, created for the 2025 Artycapucines collection and inspired by his artwork TIME (2009). The pairing reflects the artist’s enduring fascination with graphic repetition, camouflage, and the interplay between popular imagery and fine art.

The late Yayoi Kusama is represented by Great Gigantic Pumpkin (2023) and Every Day I Pray for Love(2023), works that bring her distinctive artistic universe into the exhibition. Their presence underscores the depth of her relationship with the house, where her recognisable visual language has repeatedly found expression across creative disciplines.

Also featured are Frank Gehry’s fish-shaped lamps, Untitled (Paris II) (2012). Their animated silhouettes and sculptural presence traverse the connection between Gehry’s experimental approach to form and his leather goods design for Louis Vuitton.

Artycapucines remain a testament to what can happen when artistic vision meets the practice of artisans. Each collaboration brings a new perspective to the Capucines, transforming a familiar silhouette into something deeply personal and unexpected. What makes the collection compelling is this balance between reinvention and continuity: the freedom to experiment, grounded in the craftsmanship that has long defined Louis Vuitton.
More than a showcase of extraordinary objects, the exhibition offers a glimpse into the ideas, influences, and creative exchanges that bring each piece to life. It is a reminder that heritage need not remain fixed in time; it can evolve, absorb new voices, and find meaning in unexpected places. Through Artycapucines, Louis Vuitton continues to make a case for fashion as a cultural expression—one that leaves room for individuality while honoring the hands and minds behind every creation.

Louis Vuitton Celebrates Artycapucines' Seventh Year with Keith Haring

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