What are the 7 Centenaire bags?

  1. I know know that 7 designers (Azzedine Alaia, Manolo Blahnik, Romeo Gigli, Helmut Lang, Isaac Mizrahi, Sybilla, and Vivienne Westwood) each created their own LV bags in 1996- but I don't think I've seen any except Isaac's clear tote (plus the umbrella backpack and leopard alma, but I don't know who designed them)

    Does anyone have one of these bags? (pics please!)
  2. Blahnik - hard sided shoe case
    Westwood - bustle/bum bag
    Alaia - Leopard Alma
    Sybilla - backpack w/ umbrella
    Lang - vinyl record hard-sided case
    Gigli - folding ovoid drawstring bag
  3. :yes:

    The BOML book has a picture of the Blahnik case, also.
    I remember seeing a picture of the umbrella backpack somewhere awhile ago.
  4. oooo any pics of these bags ? Thanks ! :smile:
  5. I don't have one :crybaby:
  6. Ok..I'll see if I can take a pic of it..give me a few minutes :yes:
  7. Pics of the Umbrella Backpack:
    Backpack Umbrella 1.jpg Backpack Umbrella 2.jpg Backpack Umbrella 5.jpg Backpack Umbrella 4.jpg Backpack Umbrella 6.jpg
  8. i don't have the book with me, but im pretty sure all 7 bags are in it :yes:
  9. btw- would someone please tell me who Romeo Gigli and Sybilla are? :shame:
  10. About Sybilla:

    Sybilla has been widely acclaimed as the most exciting designer to have emerged from Spain since Balenciaga. She was born in 1963 in New York City, the daughter of an Argentine diplomat. Her mother was a Polish aristocrat who worked as a fashion designer under the name Countess Sybilla of Saks Fifth Avenue. When Sybilla was seven years old, her family moved to Madrid, and she considers herself thoroughly Spanish; her clothes, she has said are also very Spanish—"not olé, olé," but Spanish in the classical sense.
    She served a brief apprenticeship in Paris at the couture atelier of Yves Saint Laurent, but recoiled at what she regarded as the "snobbish, cold, and professional" aspects of French fashion, saying, "Paris scares me. 'Fashion' is too serious. In Spain, you can still play." Like filmmaker Pedro Almodovar, Sybilla is a member of the post-Franco generation that launched a creative explosion in the 1980s. "We were the first generation after Franco died, and we tried to be different and creative," recalled Sybilla. With success came greater professionalism. In 1987 Italian fashion manufacturer Gibo began producing Sybilla's clothes en masse in Italy.
    At the end of the 1980s Sybilla became famous for creating what she called "weird and outrageous designs"—such as sculpted dresses with wired hems. But there is also a soft feeling to many of her clothes, which derives both from the colors (tobacco, pumpkin, pale green) and from a tendency toward biomorphic shapes. "The dresses of Sybilla remind you of when you were a child and your mother would tell you fairy stories," commented Almodovar actress Rossy de Palma. "But in her dresses you live that, like a dream."
    Once the celebrity maga (sorceress) of the Movida, Sybilla withdrew from media-centered fashion for seven years, then returned in 1999 to a quiet alley off the ready-to-wear center of Madrid. For her new Noche line from her bridal and couture shop, she produced chic but subdued elephantine pants and free-form, easy-wear dresses. Stressing red, green, violet, blue, olive, champagne, black, and terra-cotta, she gowned her models in feminine sweeps of silken, gauzy layers above Minorcan platform sandals and wedgies. Fashion analyst Barbara Barker of Fashion Click quoted her statement of intent to make clothing "as easy to wear as pajamas."
    Selling largely in Japan with an eye to outlets throughout Spain, Sybilla kept before her the tastes and needs of Generations X and Y. The sculpted crêpes and silks for long and short ensembles expressed a womanly vulnerability beneath a quiet show of self-confidence. Her media extended from her own daywear, Louis Vuitton bags, and vases for Alessi to candles for Cerabella and film costumes for the Blanca Li ballet company. With a mounting interest in the home, she intended to encompass flatware, place settings, carpets and rugs, and lamps.
  11. Romeo info:

    Romeo Gigli was born in Faenza, Italy into a wealthy aristocratic family. One need only look at his childhood to find the beginning of his love of luxury. Gigli's father was in the antiquarian book business and Gigli himself acknowledged: "My ideas are all from pictures I have in my head from 15th and 16th century books." But inspired as he was by his father's trade, Gigli did not go into the family business. Instead, he studied architecture for two years, traveling regularly to the European capitals of London and Paris. In 1972, a store in Bologna, Italy, asked Gigli to design clothes based on the avant-garde street fashions he had seen in these two capital cities.
    In 1978, Gigli traveled to New York to design a collection of menswear for Piertro Dimitri. Although Dimitri wanted him to stay and sign an exclusive design contract, Gigli remained in New York for only one season. He then returned to Italy and began work as a design consultant for several Italian clothing companies, including Timmi.
    Gigli launched his own company in 1983 and set up his own label, manufactured by the Novara based company Zamasport. Notices of favor from the fashion press were swift and loud. His unstructured and anachronistic designs brought a refreshing air of romance and simplicity back to fashion, and Gigli soon stood bare shoulders above the rest of the Italian fashion pack, including Giorgio Armani. In 1989 Gigli made a controversial move, taking his style presentations from Milan to Paris, where he continued to show under the tents outside the Louvre and under the auspices of the French fashion organization, Le Chambre du Syndicale, before moving into a showroom in the Marais district. In 1991, Gigli separated from his two business partners, restructured his business, and created "Romeo World" turning over 200 billion lire in the first year.
    Gigli's shows were populated by wan, pale models, watched by cultist gatherings of his fashion fans. His designs were sought after by slender, fashion-conscious, wealthy women around the world. To describe Gigli's designs one must think of a combination of Renaissance regality, Japanese severity, and disheveled punk-oriented street chic. Gigli's distinctive style has grown more pronounced with each collection since 1986 - it is characterized by a close fit that follows the lines of the body; soft, romantic draping; a tendency towards asymmetry; and an overall look of grace and fluidity. His colors are muted but rich and he works mostly in stretch linen, silk, chiffon, cotton gauze, wool, cashmere, and silk gazar.
    "Gigli was the first designer to rediscover femininity in a modern way," says Chris Gilbert, president of The Fashion Service, a retail adviser and trend tracking agency in New York. "His influence on fashion has impacted strongly already: the smaller shoulders, longer earrings, the rounded hiplines and the mix of delicate and luxurious fabrics in stretch formations: all of that is from Gigli."
    Gigli was one of the first designers to show a mix of other designers' work in his stores. For instance, in his Milan boutique his designs were combined with those designed by Jean Paul Gaultier and Sybilla. He found clothing as fascinating as fine art. One season after a fabric-buying trip to India, Gigli came back and ripped out everything in his showroom to put up a display of saris, just for people to come and look at.
    Gigli came out with a lower-priced line to be available in chic boutiques and high fashion department stores in the early 1990s. Some fashion critics have criticized Gigli for being slightly overbearing with, for example, the voluminous layers of luxury and crystal beaded ball gowns in one 1990 collection. Naysayers called him more of an "interior decorator" than a fashion designer. But many observers will admit that his early work was possibly the most influential fashion design of the late 1980s. And his avant-garde otherworldly fashion influence is expected to continue to grow into the 1990s.
  12. Ok posting them now..couple more minutes :yes:
  13. thanx for the 411!:smile:
  14. Left to right, Blahnik's case, Mizrahi's bag and Gigli's bag..

    Left to right, Alaia's bag, Lang's case and Sybilla's bag:

    Westwood's Bum bag:

    Let me know if better pics are needed :yes: