The main Shebag workshop is currently in production of the Louis Vuitton White Multicolor Carryall bag. With 15 years of experience in manufacturing LV bags, the White Multicolor version represents merely a variation in fabric to us. Today, we will provide a detailed introduction to Shebag’s replication technology for the White Multicolor Carryall.

The core craftsmanship of this White Multicolor version lies in its unique multicolor printing process: the brand utilizes traditional serigraphy (screen printing) to create the Monogram pattern on coated canvas. Each color is printed individually, a technique that emphasizes the precise registration of every color layer and vivid visual effects. The combination of the white base with the colorful LV Monogram creates a strong visual impact, serving as both a continuation of the brand’s traditional craftsmanship and an embodiment of the artist’s visual language.

The White Multicolor Carryall adopts Louis Vuitton’s iconic coated canvas, a material renowned for its durability, scratch resistance, and ease of maintenance; it is the core material for classic LV bags. The bag is trimmed with natural vegetable-tanned cowhide, which develops a unique patina over time with use, adding character and depth to the bag.

The term “White Multicolor” refers to the combination of a white background with a Monogram in three (or more) vibrant colors. This design retains the traditional aesthetics of the classic LV Monogram while incorporating a sweet, youthful, and highly artistic modern visual language. Compared to the standard monochromatic Monogram, the White Multicolor offers richer color stratification and a more fashion-forward temperament.

The Takashi Murakami × Louis Vuitton “White Multicolor” printing process is essentially not a simple color swap of the classic Monogram, but a comprehensive, high-difficulty printing system specifically designed for “multicolor on a white base.” Its complexity and cost far exceed that of standard Monogram canvas.

First is the white base itself. The “white” in White Multicolor is not a post-printed color, but the base layer within the coated canvas structure. This white base is composed of multiple layers of resin coating, demanding extremely high whiteness, uniformity, and resistance to yellowing. Unlike the brown Monogram, the white base is hypersensitive to impurities, color bleeding, or particles. If the base color is not clean, the defects in the multicolor pattern will be infinitely magnified; thus, the yield rate and screening standards for the raw canvas are incredibly rigorous.

Regarding the printing method, White Multicolor employs traditional high-precision screen printing rather than digital inkjet printing. Each color corresponds to an independent screen plate, and a single bag surface often requires thirty or even more colors. During printing, colors must be superimposed one by one; each layer must be completely dry before proceeding to the next process. There are strict requirements for the order, thickness, and positioning of the colors. A slight deviation at any step will result in obvious blurred edges, ghosting, or muddied colors on the white background.

The multicolor Monogram color system emphasizes high saturation with low pigment buildup. The pigment is not applied thickly onto the surface but rather covers it in extremely thin layers, making the colors appear bright, clear, and slightly translucent. Controlling this is extremely difficult: if the pigment layer is too thick, it looks dull and plastic-like; if too thin, it appears weak or uneven. This is the fundamental reason why common White Multicolor replicas often suffer from “muddy colors” or “floating colors.”

After printing is complete, overall setting and sealing treatments are required. The canvas undergoes a heat-setting process to stably bind the multiple pigment layers with the coating structure, followed by the application of an ultra-thin transparent protective layer to enhance resistance to friction and fading. This protective seal must be so thin as to be almost imperceptible; otherwise, it will destroy the sharpness of the colors and the proper tactile feel of the canvas. Authentic White Multicolor presents a soft matte finish under light, rather than a harsh, reflective glare.

From an industrial perspective, White Multicolor is an “anti-efficiency” process. It involves many steps, takes a long time, requires high manual intervention, and has a yield rate significantly lower than standard Monogram. This is why the series was gradually phased out in the late 2000s and subsequently could only be reissued in strictly limited quantities, with highly controlled styles and colorways, making it impossible to sustain as a long-term mass-production series.