The legend of a master trunk maker, retold. The unfolding romance of Hindi cinema. Verve fuses two historic and incredible phenomena and creates iconic images, in a tribute to style

In a world bombarded with visual interpretations of style idols, some of the abiding images have indeed been from the house of Louis Vuitton. While the high fashion label has admitted to drawing on big screen glamour to augment its own bourgeois quotient, one wonders whether it is, in fact, the rather sassy, contemporary silhouettes of Jennifer Lopez (the face of Vuitton before her slide down the ladder of cool), Diane Kruger (adjudged hot property since Troy) or Scarlett Johansson and Chloe Sevigny, that have made for Vuitton's star ratings. Rather, we would prefer to think that their famously monogrammed leather has succeeded in weathering particularly well - over 150 style-historic years - in a fashion environment that seems to pay homage, unfortunately, to the Doppelganger effect.

History is made relevant here, as style documentary. Louis Vuitton, a master trunk maker, sensing that travel would be the new catchphrase of the modern world, created a trunk with ultimate poise. In 1857, the flat-topped, stagecoach trunk was fashioned out of poplar and stretched canvas. The wardrobe trunk, was introduced in 1870. Twenty years later, was created the first modern suitcase. Travel tales abounded with these carefully made pieces holding centre stage. The empress, Eugenie de Montijo, patronised the young trunk maker and entrusted him with the task of packing her royal finery.

Memoirs, however, cannot a brand make and constant reinventing brought chic muscle. In 1998, Vuitton entered the domain of fashion with Marc Jacobs, an ingenious young New York couturier, newly instated as director of womenswear. The enfant terrible of New York fashion, who continues to maintain his own label, however, struck gold, particularly with his bag collections. Several times over! Vuitton's man with the Midas touch, brought novelty to the traditional, while retaining old strengths and techniques.

Voilà, the enduring fashion fable that is Louis Vuitton. And the timelessness of Hindi cinema. Fused and styled in tribute.

KAREENA KAPOOR

BAG POCHETTE ACCESSORIES IN MONOGRAM TROMPE L'OEIL, DESIGNED BY MARC JACOBS FOR FALL-WINTER 2004/2005; INSPIRED BY SCOTTISH SHOOTING PARTIES, THE HIGHLANDS AND VICTORIAN STYLE; EMBELLISHED WITH HONEY ALLIGATOR AND CARAMEL PIPING IN CALF AND VINTAGE METALLIC PIECES IN BRASS AND CRYSTAL STRASS. A LIMITED EDITION BAG BY LOUIS VUITTON.

Pink Lycra top, by Manish Malhotra. Bracelets and rings, at Ravissant. Watch, Kareena's own.

SHILPA SHETTY

Eleven sizzling years in the industry, somehow prepared her for the sensitive portrayal of an HIV positive victim in Phir Milenge. Now, she is set to do a Pretty Woman in Khamosh for which she admits to working hard on her body, to play an escort. "It is unbelievable but after Phir Milenge, every script I receive is heroine oriented. This is scaring me because I do not want to be typecast. The reason for my long survival is my song and dance routine and I am not apologetic about it. This is my USP."
Personal style "I will not follow fashion just to make a statement."
Upcoming Fareb with sister Shamita, a first for siblings in Hindi cinema.

BAG BOITE CHAPEAU IN EPI ROUGE, A REVITALISED 1850s BESTSELLER TRUNK ALZER IN MONOGRAM MULTICOLORE BLANC, Vuitton's LIGHTER HARD SIDED SUITCASE WITH THE AGE-OLD SAVOIR-FAIRE OF THEIR FIRST FLAT TRUNK, 1854.

Burgundy Lycra gown, by Rocky S. Necklace, by Pavan Anand, for Dagmar, from Purple Porcupine, at Ishna. Shoes, Shilpa's own.

JUHI CHAWLA

BAG SUHALI L'INGÉNIEUX PM BLEU, FEATURING NAILS, CORNERS, REINFORCEMENT BORDERS (CALLED LOSINES) AND LOCKS - ALL INSPIRED BY THE CLASSIC VUITTON TRUNKS. SHOES FLEUR OPEN BACK PUMP IN COGNAC, DESIGNED BY MARC JACOBS, FALL-WINTER 2005, INSPIRED BY RETRO 50's VINTAGE AND THE 'FEMME FATALE' LOOK.

Yellow georgette poncho, by Abu Jani and Sandeep Khosla. Beige camisole, at Marks & Spencer. Earrings and rings, at Riviera Fine Jewels. Trousers, Juhi's own.

SHABANA AZMI

BAG SUTTER IN MONOGRAM MAT AMBRÉ, LAUNCHED BY VUITTON IN 2003 AS AN ALTERNATIVE TO THE SHINY AND SOPHISTICATED MONOGRAM VERNIS. THE COLOUR AMBRÉ, INTRODUCED IN 2003, EFFECTIVELY BROADENED THE COLOUR OFFER OF THE LINE.

Beige and maroon georgette kurta and dupatta with mokaish and zardozi (salwar not shown), by Abu Jani and Sandeep Khosla. Salwar and earrings, Shabana's own.

SIMI GAREWAL

Her little known screen debut, in Tarzan Goes to India, starring Jock Mahoney, makes her India's first Hollywood actress. Later, in Conrad Rooks' Siddhartha, she proved to be the first Indian actress to do a nude scene. After seven years, Rendezvous... anchors her firmly to the small screen, making her an icon to reckon with, while she continues to receive film offers that don't excite her.
Rendezvous with stars "My crew tells me that I have changed after the Dev Anand interview. I was a person who always carried a bundle of sorrow. He says, you cannot get rid of sorrow but do not let it attach itself to you. Put it away in your pocket, somewhere." Looks "Whatever I look like is genetic. I have no greys, have never coloured my hair."
Personal style "Simply classic. If I look at a photograph of myself 20 years hence, I should not feel that I look funny."
White "It started out with my feeling good whenever I wore white. So, why not feel good all the time?"

BAG SUHALI L'AIMABLE IN WHITE, THE GOAT LEATHER LINE WITH CHARACTER AND SENSUALITY. SHOES DICE OPEN BACK PUMP IN BEIGE, FROM VUITTON'S FALL-WINTER 2004/2005 WOMEN'S LINE.

White trench coat, corset with thread work and white trousers, all by Narendra Kumar Ahmed. Cocktail ring, by Neha Agarwal, for Nillaya. Earrings, Simi's own.

Hair by Steffi, for Franck Provost