Louis Vuitton ¡§C Marc Jacobs, which has just opened at the Mus¡§|e Les Arts D¡§|coratifs in Paris, is an attempt to give daily life for the Vuitton label by casting it as a ambigu biography: of Louis Vuitton himself, the man who started his profession as trunk-packer to Napoleon's Empress and invented modern day baggage, and of Marc Jacobs, who more than the past 15 a long time has reinvented Vuitton as a style property whose viewpoint steers our wardrobes, not just the suitcases we pack them in.
It is a entertaining exhibition, should you find your self in Paris to see it: dynamic into a degree that London audiences get without any consideration, but that is still groundbreaking inside the a lot more traditional environs of French curating. In the grand opening, held on the final evening of Paris style week, I caught up with Sam Gainsbury, longtime Vuitton and McQueen show producer, who created the exhibition with companion Joseph Bennett. They defined to me the thinking guiding the two-floor exhibition, which tells the story of Vuitton on a single level along with the tale of Jacobs over. "There had been two challenges. The very first was the trunk: I mean, how can you make a trunk look fascinating?" (Reply: by displaying miniature variations from the crinolines and corsets that a 19th-century girl of fashion would pack, and exhibiting how they'd fit, crossword-puzzle like, into a trunk.) The 2nd challenge was the Louvre itself, because "the Louvre is about exhibitions in cabinets, and we needed to complete some thing far more exciting than that. We wished to subvert the architecture as a lot as you possibly can. When Marc [Jacobs] saw it for the initial time, he said 'you reinvented the Louvre for me!' That made him pleased. "
This feeling of forward-looking individuals exploring possibilities and pushing the storied and sometimes staid world of Paris fashion into the future, can be a concept that unites the two floors of the exhibition. "Louis Vuitton and Marc Jacobs are each visible artists, but also innovators and businessmen," mentioned Gainsbury.
My favourite part of the Vuitton flooring tells the story of how he exploited the boom in difficult fashions ¡§C for delicately uncrushable crinolines, and different outfits for day and night ¡§C by promoting himself as a packer "specialising in fashions." Upstairs, there's a video clip montage wall of Marc Jacobs moments, intentionally non-chronological, mixing his inspirations together with his creations: so footage from old movies (Some Like It Hot, Cat On the Sizzling Tin Roof, Annie) is blended with stills photography from before Jacobs' time (Yves Saint Laurent at Studio fifty four, Mick and Bianca Jagger on their marriage ceremony day) and with imagery from Jacobs' period at Louis Vuitton (Madonna, Jennifer Lopez, Lil' Kim in their LV finery)/
There's a sense of time rushing up, when you move from your Vuitton to the Jacobs floor. The relentless speed from the contemporary style sector has seldom been introduced residence to me a lot more starkly than it absolutely was from the wall of handbags that Jacobs has produced for Vuitton more than the previous 15 a long time. But rate, naturally, will be the point ¡§C each of fashion, and of baggage. "Movement. That is what unites almost everything," as Gainsbury place it.
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