Louis Vuitton Fall 2013 Accessories: Hemingway, Bolofo, and Deco Jewelry

In the summer of 2013, Louis Vuitton’s accessories story for the coming cold months arrived the way the house preferred to tell it then: through catalogues and jewelry lookbooks rather than runway noise alone. Two linked campaigns framed the season. Dree Hemingway posed for the Pre-Fall 2013 catalogue, photographed by Koto Bolofo at Paris’s Hôtel de Crillon. Romanian model Andreea Diaconu fronted the Fall/Winter 2013 fashion jewelry book, a collection deliberately tuned to 1930s Art Deco geometry. Together they sketched a single mood—travel luxury, fur against leather, monogram hardware, and jewelry that sat somewhere between costume drama and modern polish.

Taken together, the two books form a fixed 2013 accessories dossier—not a shoppable drop for a later decade, and not a recap of Marc Jacobs’s final runway years dressed up as nostalgia clickbait. The subject is bags, clutches, luggage, shoes, gloves, and jewelry as Louis Vuitton presented them that season, with the faces and photographers the house chose for the catalogues.

Dree Hemingway and Koto Bolofo at the Hôtel de Crillon

Bolofo’s Pre-Fall catalogue cast Hemingway as a guest with an entire suite of Louis Vuitton at her disposal. The location mattered. The Crillon’s historic rooms gave the shoot a private-getaway fiction: embroidered dresses, knitted pieces, capes, long fur coats and mink textures, trousers, and the brand’s travel vocabulary piled around her. Accessories were not afterthoughts. Handbags, clutches, luggage, shoes, gloves, and jewelry shared the frame with ready-to-wear, which is how Pre-Fall catalogues often worked for Vuitton—selling the full traveling wardrobe rather than isolating a single hero bag.

Readers who followed fashion media in mid-2013 saw the same notes repeated across lookbook coverage: casual knits beside full furs; whimsical staging rather than severe studio minimalism; Hemingway carrying the season’s leather goods with an ease that made the monogram feel inhabited. Fur vests and mink coats paired with leather bags became a shorthand for the catalogue’s texture story—soft animal surfaces against structured leather, LV logos catching light on clutches and hardware.

Bolofo’s framing rewarded slow looking. A clutch held at the hip, a glove’s seam, the corner of a soft-sided bag against a hotel chair—these were the catalogue’s quiet persuasive moves. Pre-Fall 2013 bag conversation among collectors also circled reinvented icons: Speedy silhouettes treated with sequined Damier surfaces, Deauville shapes in Monogram Tuffetage or suede, navy and oxblood among the season’s quieter luxury colors. Whether or not every piece appeared in Hemingway’s Crillon sequence, the catalogue’s job was to place those accessories inside a lived fiction of arrival, waiting, and departure.

What Pre-Fall accessories were selling in 2013

Accessories seasons at Louis Vuitton rarely invent from zero. They reweight familiar codes. In 2013 that reweighting leaned tactile. Sequins and tuffetage surfaces made classic bag architectures feel dressed for evening without abandoning daytime travel DNA. Soft leather clutches carried the logo as a graphic rather than as an apology. Luggage remained part of the visual sentence—Vuitton’s oldest argument with itself—because the house still sold the fantasy of packing for a glamorous elsewhere.

Shoes and gloves completed the catalogue’s “full outfit” logic. Campaign commentary from the time often singled out footwear as unusually present in Bolofo’s frames: not mere finishing, but sculptural partners to coats and bags. Gloves, too, read as period punctuation—useful in a Deco-adjacent season and photogenic against fur cuffs. Jewelry from the wider Fall story bled into the same world, even when the dedicated jewelry book used a different model.

Hemingway was a shrewd casting choice for that world. Already associated with a modern bohemian lineage and editorial ease, she could wear heavy fur without looking costumed and hold a logo clutch without looking like a billboard. Bolofo’s photographs banked on that ease. The Crillon became a temporary Louis Vuitton apartment; accessories became the furniture of glamour.

Andreea Diaconu and the Fall 2013 jewelry book

If the Pre-Fall catalogue sold texture and travel, the Fall/Winter 2013 jewelry campaign sold geometry. Louis Vuitton’s fashion jewelry for the season looked back to Art Deco of the 1930s: zig-zag motifs, collar and bib necklaces, monogram flowers, resin inclusions, faux tortoiseshell, and dramatic black. Crash Magazine’s contemporaneous notes placed the collection in a lineage that already included shiny Peter Pan collars and “handcuff” pieces from earlier seasons, then highlighted perennial Inclusion themes—Monogram flowers and LV initials suspended in colored resin—restaged in tortoiseshell and black for a Deco silhouette.

Andreea Diaconu, already familiar from Vogue Paris and W Magazine pages, carried that jewelry with a bare-faced severity that fashion week coverage liked to emphasize: statement brows, minimal makeup, jewelry doing the decorative work. The contrast mattered. Hemingway’s Crillon story was hotel fantasy and tactile abundance. Diaconu’s jewelry frames were graphic and closer to modernist still life worn on the body—classic elegance pressed against a modern edge, exactly the line the house used when describing the season.

Standout vocabulary from 2013 coverage included zig-zag necklaces, monogram flower pieces, charm and collar constructions, leather mixed with tortoiseshell effects, and themed groupings that labels such as Inclusion, Ziggy, Lock Me, Hide and Seek, and Over the Rainbow helped organize for press. Whether a reader met those names in a magazine caption or a boutique tray, the visual thesis was consistent: jewelry as architecture, not as afterthought sparkle.

How the two campaigns speak to each other

Viewed side by side—as many blogs did in July 2013—the Hemingway and Diaconu books form one accessories season rather than two unrelated products. Fur, leather bags, and logo clutches supply weight and logo recognition. Deco jewelry supplies line, contrast, and a historical citation that flatters Vuitton’s own archive instincts. Both rely on strong single models rather than crowded casting. Both treat accessories as the primary text.

That is useful historical context for anyone revisiting these images years later. Pre-Fall and Fall jewelry lookbooks of that period were how Louis Vuitton extended runway mythology into objects people could imagine owning: a Speedy variation, a Deauville cube, a resin monogram pendant, a collar that photographed like a Deco frieze. The Crillon suite and the jewelry stills were marketing, of course—but they were also a carefully dated style document of how the house wanted autumn 2013 to look on a body in motion and at rest.

Reading the catalogue image today

Return to Bolofo’s surviving catalogue still. Soft light on fur, leather held close, the model’s posture half hotel-lobby and half campaign stare. It is a Pre-Fall sentence written in accessories: warmth against structure, logo against private space, travel codes staged indoors. Bolofo’s Crillon fiction and Diaconu’s Deco jewelry book do not need updating into a present-tense trend report. They already did their job in 2013—telling viewers, with unusual clarity, which bags, clutches, and jewels Louis Vuitton wanted autumn to remember.