【2026进博会】Louis Vuitton 路易威登

LOUIS VUITTON 路易威登｜第九届中国国际进口博览会「中国之旅」展区｜2026 年 11 月 5 日–10 日｜上海 国家会展中心 消费品展区

第九届中国国际进口博览会于 2026 年 11 月 5 日至 10 日在国家会展中心（上海）举行。LVMH 路威酩轩集团第七次参展，以「新生代，继往开来」为主题，带旗下宝格丽、迪奥、法国娇兰、轩尼诗、路易威登、丝芙兰与蒂芙尼七个品牌同台。2026 年适逢中国加入世界贸易组织二十五周年，集团把这一届的叙事放在「传承与下一代」上。路易威登在其中承担的是历史纵深那一块：从 1854 年以旅行箱起家，到 1992 年在北京开出中国内地首家精品店，品牌与中国的关系已经跨过百年，展区要做的就是把这条线摊开给人看。

路易威登展区的入口写着「中国之旅 / Journey to China」。迎面是一面年份墙，把品牌与中国相关的节点按时间排开：1907、1931、1992、2004、2012、2018、2020、2022、2025 等年份依次落在墙上，观众顺着读过去，看到的不是产品年表，而是一段往来史。墙面另一侧是早期与中国有关的图像资料，北京天坛、历代帝王庙这类地标以老照片的方式出现，年份标注停在 1913 年。这些材料把「旅行」这个品牌原点接到具体的城市上——对一个以行李箱建立名声的品牌，中国从来不只是销售市场，也是旅行目的地本身。

展区里另设「安尼叶荷沙龙」，用三件旅行硬箱讲探索精神。第一件出自 19 世纪广东制箱匠之手，来自加斯顿-路易-威登（Gaston-Louis Vuitton）的古董收藏；第二件与环球探险家阿尔贝·卡恩（Albert Kahn）相关，制作时间约在 1910 年代；第三件出现在摄影师布鲁诺·阿维扬（Bruno Aveillan）的镜头里，与中国风景相映。三件硬箱的年代、来路与拍摄语境各不相同，摆在一起就把「旅行」拆成三层：工艺的地方性、行走的世界性，以及影像里的东方想象。对观众而言，这是展区里需要停下来看的部分，因为它不靠新品吸引人，靠的是物件本身的时间感。

把这条线索放回 LVMH 的整馆语境，路易威登的位置就清楚了：宝格丽讲罗马传承与数字工艺，迪奥讲创意与可持续，娇兰讲近两百年的香氛档案，轩尼诗讲 167 年的中国渊源，丝芙兰讲美妆生态，蒂芙尼讲经典设计的当代表达；路易威登负责的是「旅行如何塑造品牌」这一题。集团层面给出的背景是，目前在中国 100 余座城市运营超过 1,400 家品牌门店，2025 年上海「路易号」、北京迪奥之家与蒂芙尼北京旗舰店相继揭幕。传播上，进博会这样的场合并不靠单件新品制造话题，而是靠一条完整的历史线换取信任——路易威登的年份墙与三只硬箱，正是把「我们在这里很久了」这句话变成可看的证据。

The 9th China International Import Expo ran from 5 to 10 November 2026 at the National Exhibition and Convention Center in Shanghai. LVMH returned for the seventh time under the theme "New Generations", bringing seven houses — Bvlgari, Dior, Guerlain, Hennessy, Louis Vuitton, Sephora and Tiffany & Co. — onto one stand. With 2026 marking twenty-five years since China joined the World Trade Organization, the group framed the edition around inheritance and the next generation, an argument that has to be made through objects rather than slogans when seven houses share one floor plate. Louis Vuitton carried the historical depth: from a trunk-maker's workshop in 1854 to its first mainland boutique in Beijing in 1992, the relationship with China spans more than a century, and the brief was to lay that line out where people could read it.

The entrance to the Louis Vuitton area reads "Journey to China". Facing visitors is a wall of years, setting the brand's Chinese milestones in chronological order: 1907, 1931, 1992, 2004, 2012, 2018, 2020, 2022 and 2025 appear across the surface. Read in sequence, it is less a product timeline than a record of exchange. A second wall holds early imagery connected to China, with landmarks such as the Temple of Heaven and the Temple of the Emperors of Successive Dynasties shown in period photographs and dated 1913. These materials tie the brand's founding idea, travel, to specific cities. For a house that built its reputation on luggage, China has never been only a market; it has also been a destination.

Inside the area, a salon the brand calls 安尼叶荷 tells the story of exploration through three historic trunks. The first was made by a nineteenth-century trunk maker in Guangdong and comes from the Gaston-Louis Vuitton collection of antiques. The second is linked to the globetrotting banker and philanthropist Albert Kahn and dates from around the 1910s. The third appears in a photograph by Bruno Aveillan, framed against a Chinese landscape. The brand's first mainland boutique opened in Beijing in 1992, and its recent Chinese spaces include The Louis in Shanghai and the Louis Vuitton Maison in Beijing's Sanlitun, alongside fashion shows, art exhibitions and the Louis Vuitton City Guide. Different in age, provenance and photographic context, the three objects split the idea of travel into three layers: the locality of craft, the universality of movement, and the Eastern imagination as captured on film. Of everything on the stand, this is the section that asks visitors to slow down, because it draws attention through the passage of time in the objects rather than through a new product. Display cases stay low and lighting is concentrated on the trunks, so the route reads as a small exhibition inside a trade fair booth.

Set against the rest of the LVMH pavilion, the role becomes clear. Bvlgari speaks about Roman heritage and digital craft, Dior about creativity and sustainability, Guerlain about nearly two centuries of perfume archives, Hennessy about 167 years of connection with China, Sephora about the beauty ecosystem and Tiffany about classic design in contemporary form; Louis Vuitton takes the question of how travel shaped a brand. The group notes that it now operates more than 1,400 stores across over 100 Chinese cities, and that 2025 brought the opening of The Louis in Shanghai, the House of Dior in Beijing and the Tiffany flagship in Beijing. At an event like CIIE, communication does not rely on a single new product to generate attention; it relies on a complete historical line to earn trust. The wall of years and the three trunks are how Louis Vuitton turns the sentence "we have been here a long time" into evidence a visitor can see, and into a reason to believe the next chapter will be written in the same place. The walls of years do the quiet work that a launch event cannot: they show continuity, and continuity is the asset a luxury house is really selling at an import expo.

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