OK peeps - so the
LOUIS VUITTON - MARC JACOBS EXHIBITION
is opening at the Musée des Arts Décoratifs
is opening at the Musée des Arts Décoratifs
in Paris 9 March - 16 September, 2012
Excellent idea to book a weekend to Paris during this time
to take in this
Brilliant Exhibition of the History of Louis Vuitton
and a Retrospective of Marc Jacobs last fifteen years at the Brand
- Amazing! Xx
Check Murray Healy's article 'A Chorus Line' in LOVE magazine out right now
LOUIS VUITTON - MARC JACOBS
is a story of two personalities and their
contributions to the world of fashion: Louis Vuitton,
founder of the house of Louis Vuitton in1854,
and Marc Jacobs, its artistic director since 1997.
Two innovators, both rooted in their respective centuries,
advanced an entire industry.
Two creators, each in his own language,
appropriated cultural codes and trends in
order to shape the history of contemporary fashion.
More an invitation to analysis than a traditional retrospective,
the parallel stories of Vuitton and Jacobs permit an in-depth
look at the fashion industry during two decisive periods,
one beginning with nineteenth century industrialization
and the other peaking in twenty-first century globalization.
Theirs is also a story of French craftsmanship, technological progress,
stylistic creation and artistic collaboration
Excellent idea to book a weekend to Paris during this time
to take in this
Brilliant Exhibition of the History of Louis Vuitton
and a Retrospective of Marc Jacobs last fifteen years at the Brand
- Amazing! Xx
Nurses du Défilé Femme SS 2008 carrying bags from the
Jokes Monogram line by Richard Prince.
From L to R : Stéphanie Seymour, Eva Herzigova, Rianne Ten, Anne V,
Carmen Kaas, Natalia Vodianova,
Angela Lindvall, Isabeli Fontana, Karolina Kurkova,
Lara Stone, Nadja Auermann, Naomi Campbell.
Check Murray Healy's article 'A Chorus Line' in LOVE magazine out right now
Pictures by Solve Sundsbo Fashion Editor Katie Grand
check my post on the fabulous new issue of LOVE
Click Here to see the most AMAZING film
Directed by Ruth Hogben
Creative Director Katie Grand
The Lovely people at Louis Vuitton have sent me all this information
about it and details about Marc Jacobs and Pamela Golbin the
Exhibition's Curator which I found extremely interesting
and I am sure you will too if you read on.
is a story of two personalities and their
contributions to the world of fashion: Louis Vuitton,
founder of the house of Louis Vuitton in1854,
and Marc Jacobs, its artistic director since 1997.
Two innovators, both rooted in their respective centuries,
advanced an entire industry.
Two creators, each in his own language,
appropriated cultural codes and trends in
order to shape the history of contemporary fashion.
More an invitation to analysis than a traditional retrospective,
the parallel stories of Vuitton and Jacobs permit an in-depth
look at the fashion industry during two decisive periods,
one beginning with nineteenth century industrialization
and the other peaking in twenty-first century globalization.
Theirs is also a story of French craftsmanship, technological progress,
stylistic creation and artistic collaboration
The Exhibition Space is designed by Gainsbury and Bennett is on two floors
Louis Vuitton's Trunks with the museum's 19th century
Fashion and Accessory Collection on the First Floor
and on the Second Floor will be a selection of
Marc Jacobs Designs retracing the
last fifteen years of his career at Louis Vuitton.
3. Louis Vuitton trunk 1869-1871, Les Arts décoratifs ©
Jean Tholance donation of gaston-Louis Vuitton, 1989
Louis Vuitton (1821-1892)
It was at “Maréchal’s,” in Paris rue Saint- Honoré,
that Louis Vuitton learnt the inner workings of the trade of “trunk-maker and packer” (layetier coffretier emballeur).
For seventeen years, he honed his complex practical knowledge of this profession, mastering every aspect of manufacturing and packing,
as well as the logistics of his trade.
In 1854, he left Maréchal to open his own establishment a
few hundred yards away, at 4 rue Neuve- des-Capucines,
near the rue de la Paix.
few hundred yards away, at 4 rue Neuve- des-Capucines,
near the rue de la Paix.
From the start, Louis Vuitton positioned himself differently
to his fellow “box maker–chest maker–packagers.”
He abbreviated the title and redefined himself simply as a “packager.”
His letterhead added a decisive precision :
“Specialty in the Packing of Fashions.”
This choice turned out to be both original vis-à-vis his peers
and astute as to the future.
Indeed, Parisian haute couture would enjoy a meteoric rise,
thanks to its founder, Charles- Frederick worth,
who opens his couture house around the corner on the rue de la Paix.
to his fellow “box maker–chest maker–packagers.”
He abbreviated the title and redefined himself simply as a “packager.”
His letterhead added a decisive precision :
“Specialty in the Packing of Fashions.”
This choice turned out to be both original vis-à-vis his peers
and astute as to the future.
Indeed, Parisian haute couture would enjoy a meteoric rise,
thanks to its founder, Charles- Frederick worth,
who opens his couture house around the corner on the rue de la Paix.
His first trunks were covered with waterproof waxed canvas.
Called gris trianon, it was painted gray.
The owners’ coat-of-arms and monograms were then
applied to that coat of paint.
applied to that coat of paint.
Over the years, Louis Vuitton took an intense interest in trunk coverings,
patenting the patterned canvases which allowed him to
differentiate his trunks from other brands and protect them
from the increasingly common practice of counterfeiting.
patenting the patterned canvases which allowed him to
differentiate his trunks from other brands and protect them
from the increasingly common practice of counterfeiting.
In 1877 Louis Vuitton registered a patent for a striped canvas,
available in several colors.
Eleven years later, he registered a new patent,
this time for the more sophisticated “damier canvas,”
which integrated his name into the decorative pattern.
available in several colors.
Eleven years later, he registered a new patent,
this time for the more sophisticated “damier canvas,”
which integrated his name into the decorative pattern.
Thus, for the first time, his name appeared as a
signature on the outside of his trunks.
In 1896 georges Vuitton, pursuing the same logic as his father,
created the now-famous “LV” Monogram.
In 1896 georges Vuitton, pursuing the same logic as his father,
created the now-famous “LV” Monogram.
The industrial history of the second half of the 20th
century is studded by the Universal Exhibitions.
These new temples of international culture became the showcases
for all the great inventions and attracted a huge public.
Seizing this opportunity,
Vuitton showed his latest creations in 1867,
in the new “Travel and Camping Articles” section
and was awarded his first medal.
His participation in various expositions in 1867, 1868, 1887, and 1889
set the pace for his technical innovations and established his personal signature.
In fact, for each event, he perfected an invention,
which he patented.
He secured for himself an exceptionally wide distribution
and extraordinary visibility,
while at the same time legally protecting his creations.
century is studded by the Universal Exhibitions.
These new temples of international culture became the showcases
for all the great inventions and attracted a huge public.
Seizing this opportunity,
Vuitton showed his latest creations in 1867,
in the new “Travel and Camping Articles” section
and was awarded his first medal.
His participation in various expositions in 1867, 1868, 1887, and 1889
set the pace for his technical innovations and established his personal signature.
In fact, for each event, he perfected an invention,
which he patented.
He secured for himself an exceptionally wide distribution
and extraordinary visibility,
while at the same time legally protecting his creations.
but the perfection and inventiveness of his creations,
in tune with the needs and aspirations of a new bourgeoisie
eager travel and luxury,
also needed the right address.
in tune with the needs and aspirations of a new bourgeoisie
eager travel and luxury,
also needed the right address.
when Louis Vuitton opened for business at his new premises
at 1 rue Scribe in 1871, he was placing himself from the start
at the epicenter of the Paris metamorphosed by baron Haussman.
The Café de la Paix occupied the place of honor,
at the corner of Place de l’Opéra.
The boulevards that converged there,
recently opened up to traffic or widened during the public works projects,
encouraged walking and leisurely strolls.
The district became an open-air shopping center,
whose watchwords were leisure and luxury.
Located between Place de l’Opéra and the Vendôme Column,
the rue de la Paix was one of the favorite promenades
of the Paris high society.
at 1 rue Scribe in 1871, he was placing himself from the start
at the epicenter of the Paris metamorphosed by baron Haussman.
The Café de la Paix occupied the place of honor,
at the corner of Place de l’Opéra.
The boulevards that converged there,
recently opened up to traffic or widened during the public works projects,
encouraged walking and leisurely strolls.
The district became an open-air shopping center,
whose watchwords were leisure and luxury.
Located between Place de l’Opéra and the Vendôme Column,
the rue de la Paix was one of the favorite promenades
of the Paris high society.
This new commercial artery attracted the most famous
names in fashion and design.
Jewelers and perfumers were well established on the street level,
while couturiers, milliners, and photographers took over the upper stories.
worth, Paquin, and doucet,
recognized as the definitive couture house of the day,
gave the district its ultimate cachet.
At his first workshop on rue Neuves-des-Capucines,
Louis had become friends with the now
famous Charles-Fréderick worth.
Certain Louis Vuitton trunks still bear the original plaques from worth,
attesting to the close collaboration between the two men.
As a founder of haute couture,
worth imposed new sartorial codes and practices,
increasing the number of items in the bourgeois wardrobe :
indoor clothing, morning dress, town attire, afternoon gowns,
dinner gowns, ball gowns, and also the endless layers of undergarments
names in fashion and design.
Jewelers and perfumers were well established on the street level,
while couturiers, milliners, and photographers took over the upper stories.
worth, Paquin, and doucet,
recognized as the definitive couture house of the day,
gave the district its ultimate cachet.
At his first workshop on rue Neuves-des-Capucines,
Louis had become friends with the now
famous Charles-Fréderick worth.
Certain Louis Vuitton trunks still bear the original plaques from worth,
attesting to the close collaboration between the two men.
As a founder of haute couture,
worth imposed new sartorial codes and practices,
increasing the number of items in the bourgeois wardrobe :
indoor clothing, morning dress, town attire, afternoon gowns,
dinner gowns, ball gowns, and also the endless layers of undergarments
that structured the enormous crinoline silhouettes,
and the infinite variety of hats and accessories,
which augmented the astronomical number of objects necessary
for a complete wardrobe. This was a boon for Louis Vuitton, who,
as a specialist in packing fashions,
was the best placed to respond to the exponential demand.
and the infinite variety of hats and accessories,
which augmented the astronomical number of objects necessary
for a complete wardrobe. This was a boon for Louis Vuitton, who,
as a specialist in packing fashions,
was the best placed to respond to the exponential demand.
A plethora of names of barons, counts, marquis
and princesses parade by in these order books, but also stars,
including Sarah Bernhardt.
It wasn’t rare for an actress of such stature to purchase
ten or more trunks at a time, and for her first tour of Brazil alone,
she needed more than two hundred!
and princesses parade by in these order books, but also stars,
including Sarah Bernhardt.
It wasn’t rare for an actress of such stature to purchase
ten or more trunks at a time, and for her first tour of Brazil alone,
she needed more than two hundred!
To the end, he would remain faithful to the three motivations that drove him :
to improve and master his savoir-faire,
to give his clientele full satisfaction, and to continue innovating.
to improve and master his savoir-faire,
to give his clientele full satisfaction, and to continue innovating.
2. doll, trousseau and its trunk, circa 1865,
Les Arts décoratifs © Jean Tholance
Marc Jacobs
Fashion underwent a tremendous transformation in the late twentieth century,
and the American designer Marc Jacobs was an integral part of this change.
In the 1980s and ’90s, fashion— once the exclusive
domain of a handful of international capitals—became a truly global industry,
forcing the new generation of designers to evolve in order to
meet the demands of the market.
Creative talent was no longer the only criterion
sought by the mega-brands that held sway in this globalized world.
Fashion designers were required to be even more efficient in
terms of marketing and artistic direction while taking on the
role of spokesperson of the brand.
Marc Jacobs has proved to be the perfect man for this new paradigm.
and the American designer Marc Jacobs was an integral part of this change.
In the 1980s and ’90s, fashion— once the exclusive
domain of a handful of international capitals—became a truly global industry,
forcing the new generation of designers to evolve in order to
meet the demands of the market.
Creative talent was no longer the only criterion
sought by the mega-brands that held sway in this globalized world.
Fashion designers were required to be even more efficient in
terms of marketing and artistic direction while taking on the
role of spokesperson of the brand.
Marc Jacobs has proved to be the perfect man for this new paradigm.
After graduating in 1984 from Parsons School of design in New york,
Marc Jacobs was named designer for Perry Ellis in November 1988.
Together with Ralph Lauren and Calvin Klein,
Perry Ellis was considered one of the major names in the
American ready- to-wear industry,
and Marc Jacobs’s appointment as the head designer of a company
with an annual sales volume of about $100 million
propelled him into the major league of designers.
While most American designers dream of having their own label,
he took on the challenge of designing under a name other than his own.
Although his name did not appear on the Perry Ellis label,
he both asserted his vision and distanced himself from the
entire stylistic heritage left by Ellis.
In November 1992, Marc Jacobs presents his « grunge »
Marc Jacobs was named designer for Perry Ellis in November 1988.
Together with Ralph Lauren and Calvin Klein,
Perry Ellis was considered one of the major names in the
American ready- to-wear industry,
and Marc Jacobs’s appointment as the head designer of a company
with an annual sales volume of about $100 million
propelled him into the major league of designers.
While most American designers dream of having their own label,
he took on the challenge of designing under a name other than his own.
Although his name did not appear on the Perry Ellis label,
he both asserted his vision and distanced himself from the
entire stylistic heritage left by Ellis.
In November 1992, Marc Jacobs presents his « grunge »
collection which marks the end of his venture with Perry Ellis.
For even as he earned critical acclaim,
the collection proved to be a financial disaster.
For even as he earned critical acclaim,
the collection proved to be a financial disaster.
Jacobs, at barely thirty years old, and Robert,
his inseparable business partner, found themselves once again
searching for new business backers.
Ironically enough, it was the owners of Perry Ellis
who were to finance Jacobs’ new solo career.
his inseparable business partner, found themselves once again
searching for new business backers.
Ironically enough, it was the owners of Perry Ellis
who were to finance Jacobs’ new solo career.
On January 7, 1997, Marc Jacobs was named Artistic director
of the venerable 143-year-old company Louis Vuitton.
His job was to introduce, for the first time in Vuitton’s history,
ready-to-wear collections for men and women,
as well as a line of fashion accessories including shoes and bags.
of the venerable 143-year-old company Louis Vuitton.
His job was to introduce, for the first time in Vuitton’s history,
ready-to-wear collections for men and women,
as well as a line of fashion accessories including shoes and bags.
Keepall 50 in Silver Graffiti Monogram canvas,
S/S 2001 Stephen Sprouse collection Louis Vuitton/Anton Jarrier
bag in cherries Monogram Canvas, S/S 2005 Louis Vuitton
Familiar with the intricate workings of the corporate world,
Jacobs stepped onto the Parisian stage well-equipped
with in-depth knowledge of the new fashion industry,
and intent from the outset on creating another universe parallel
to the very classical Vuitton image.
“You’ve got this ultra-classic conservative age-old world of
Vuitton that exists alongside the very trendy up-to-the-moment fashion world.
And I think the further apart those two things get the more they
complement each other in a way.
So you have Annie Leibowitz doing these ads with Gorbachev,
Catherine Deneuve, and Agassi, showing this historical Vuitton
attitude about travel and sophistication—this old world, in a new way.
And then you have our Mert and Marcus side of it,
which is glossy and glitzy and glamorous and about film stars and whatever.
I think it’s better the further apart the two become. As always, Marc Jacobs was clairvoyant and pragmatic: “A great name. A famous,
Jacobs stepped onto the Parisian stage well-equipped
with in-depth knowledge of the new fashion industry,
and intent from the outset on creating another universe parallel
to the very classical Vuitton image.
“You’ve got this ultra-classic conservative age-old world of
Vuitton that exists alongside the very trendy up-to-the-moment fashion world.
And I think the further apart those two things get the more they
complement each other in a way.
So you have Annie Leibowitz doing these ads with Gorbachev,
Catherine Deneuve, and Agassi, showing this historical Vuitton
attitude about travel and sophistication—this old world, in a new way.
And then you have our Mert and Marcus side of it,
which is glossy and glitzy and glamorous and about film stars and whatever.
I think it’s better the further apart the two become. As always, Marc Jacobs was clairvoyant and pragmatic: “A great name. A famous,
unique house that will exist after me.
Vuitton is not a fashion company.
We make ‘fashionable’ things, we introduced the idea of fashion,
Vuitton is not a fashion company.
We make ‘fashionable’ things, we introduced the idea of fashion,
which changes according to the mood of the times,
the icons of popular culture.
but the heart of the brand remains unchanged and unchangeable,
which is just as well.”
Marc Jacobs mastered the subtleties of management and design with great finesse, developing a collective creation process and openly declaring:
“I am a ‘designer’ working in the midst of a team of designers.
We make our proposals for ready-to-wear collections, accessories,
and other ‘LV’ products together.
We present our ideas in the fashion show format,
clothing and accessories together.
We also give our opinion on the way things are presented at all levels,
even advertising.
But it is only an opinion, for within the LV structure,
we do not have any possibility of controlling as far as merchandising,
advertising, or the image. design in fashion, as in every
the icons of popular culture.
but the heart of the brand remains unchanged and unchangeable,
which is just as well.”
AW 2006-2007 : Look 08 - Sprouse léopard,
AW 2011-2012 : Look 67 - Kate Moss
Marc Jacobs mastered the subtleties of management and design with great finesse, developing a collective creation process and openly declaring:
“I am a ‘designer’ working in the midst of a team of designers.
We make our proposals for ready-to-wear collections, accessories,
and other ‘LV’ products together.
We present our ideas in the fashion show format,
clothing and accessories together.
We also give our opinion on the way things are presented at all levels,
even advertising.
But it is only an opinion, for within the LV structure,
we do not have any possibility of controlling as far as merchandising,
advertising, or the image. design in fashion, as in every
other realm, involves a series of choices.
My creative process is born of constant communication within a team.”
And so, quite naturally, Marc Jacobs called upon artistic collaborators like
Stephen Sprouse, Takashi Murakami, and Richard Prince—associations between art and fashion that have become textbook examples for the industry.
My creative process is born of constant communication within a team.”
And so, quite naturally, Marc Jacobs called upon artistic collaborators like
Stephen Sprouse, Takashi Murakami, and Richard Prince—associations between art and fashion that have become textbook examples for the industry.
The Vuitton style patiently elaborated by Marc Jacobs
swings back and forth from season to season in order
to better define the “LV” woman who is always on the go,
always in tune with her times.
Jacobs is comfortable navigating between the extremes,
taking every liberty, without imposing any preconceived ideas.
Although continuing to innovate “with impulses rather than numbers,
because fashion is not a science,” he remains rooted in reality,
ever-intent on making his work accessible.
“For some, life has no meaning without fashion,
but for me, fashion has no meaning without life.”
swings back and forth from season to season in order
to better define the “LV” woman who is always on the go,
always in tune with her times.
Jacobs is comfortable navigating between the extremes,
taking every liberty, without imposing any preconceived ideas.
Although continuing to innovate “with impulses rather than numbers,
because fashion is not a science,” he remains rooted in reality,
ever-intent on making his work accessible.
“For some, life has no meaning without fashion,
but for me, fashion has no meaning without life.”
Pamela Golbin
The Exhibition Curator
The Exhibition Curator
Pamela golbin is an internationally renowned figure in the Fashion industry,
with extensive historical knowledge of cultural and design issues.
She is a leading expert in contemporary Fashion and has organized
landmark exhibitions worldwide.
Ms. Golbin is also a successful published author
and is invited to lecture on a regular basis all over the world.
Currently, Ms. Golbin is Chief Curator of Fashion and Textiles at
Les Arts décoratifs in Paris.
Since 1993, she has been responsible for one of the
three largest public collections of dress and textiles worldwide.
In 1997, she inaugurated, with the museum team,
the largest permanent gallery exhibition space (16000 ft2) devoted to Fashion.
Ms. Golbin has organized over fifteen exhibitions
including major retrospectives on iconic fashions
legends such as Elsa Schiaparelli, Cristobal Balenciaga,
Valentino and the award winning exhibition
legends such as Elsa Schiaparelli, Cristobal Balenciaga,
Valentino and the award winning exhibition
on Madeleine Vionnet.
Her lastest exhibition presented the visionary designer, Hussein Chalayan.
She has created benchmark projects such
as the inaugural exhibition of the French year in China
at the National Museum in Beijing and the
first comprehensive fashion exhibition in Sao Paulo, Brazil.
Ms. Golbin is the author of ten respected books translated in several languages.
She is currently preparing “Louis Vuitton Marc Jacobs”
scheduled to open in March 2012.
scheduled to open in March 2012.
Franco-Chiliean born in Peru, Ms. Golbin was educated in
New York’s Columbia University and in Paris’ La Sorbonne.
She lectures at high profile institutions such as London’s
celebrated Royal College of Art, the Los Angeles County Museum of Art
and New York’s Fashion Institute of Technology.
She initiated the Annual Fashion Talks interviews
in New York City bringing onto a public stage
the most renowned names in contemporary Fashion
for one on one live discussions.
As a radio producer, she has launched a series of
French programs analysing today’s leading Fashion designers.
Pamela Golbin is also a frequent commentator on
television in Europe and abroad as well as a regular contributor
to Art and Fashion magazines.
THE ARTS DéCORATIFS MUSEUMS
107 rue de Rivoli, 75001 Paris >phone +33 01 44 55 57 50
Métro: Palais-Royal, Pyramides, Tuileries
Open Tuesday to Sunday 11am to 6pm
(Late opening Thursday until 9pm: Temporary exhibitions and jewellery gallery only)
Full rate: 9.5 € Reduced rate: 8 €
Métro: Palais-Royal, Pyramides, Tuileries
Open Tuesday to Sunday 11am to 6pm
(Late opening Thursday until 9pm: Temporary exhibitions and jewellery gallery only)
Full rate: 9.5 € Reduced rate: 8 €
No comments:
Post a Comment