SERVICE DES PUBLICS AIDE À LA VISITE VISITOR’S GUIDE, N° 36 Département pédagogique et culturel SERVICE N°36 ACCÈS RATES LES ARTS DÉCORATIFS département pédagogique Les Arts Décoratifs Full rate : 9,50 € et culturel 107, rue de Rivoli Reduced rate : 8,00 € desPUBLICS 75001 Paris tel 01 44 55 57 50 Free access under the age of 26 for members Information : www.lesartsdecoratifs.fr of the European Union. This ticket allows access to the Arts Décoratifs Museum (except > Opening hours for the nave), as well as to Fashion and Textile, Tuesday to Sunday from 11:00 am to 6:00 pm and Advertisement exhibitions. evening hours on Thursday - L.V.M.J. from 6:00 pm to 9:00 pm > Guided visits for students and adults The creations of two personalities from two very different closed on Monday eras are presented in parallel on two different fl oors of > Guided visits for individuals the musée des Arts décoratifs, in an exhibition dedicated Métro stops These visits are scheduled on a regular basis. to Louis Vuitton (1821-1892), founder of the fi rm, and Marc Palais-Royal, Pyramides, Tuileries Please refer to the calendar on the website. Jacobs, the artistic director of LVMH since 1997. Buses 21, 27, 39, 48, 68, 69, 72, 81, 95 > Guided group visits for visitors between Parking the ages of 4 to 17, as well as for students The exhibition is a personalized journey through the between the ages of 18 and 25 from the creations of two men and tells the story of how two great Carrousel du Louvre, Pyramides European Union: Vélib bicycle station innovators have contributed to the history of the fashion Guided visits (1hour) : 60 € / group industry, from the industrial period of the mid 19th century Station 1015 Fig. 01 Guided visits (1hour 30 min.) : 90 € / group to the globalization of the L.V. label at the beginning of the 21st century. > Access for visitors with disabilities: > Guided visits for students between the the museum may be accessed through ages of 18 and 25 outside of the European The founder of the company, Louis Vuitton is revealed as 105, rue de Rivoli – 75001 Paris Union: an innovator, whose entrepreneurial instincts contributed Guided visits (1hour) : 80 € / group largely to the birth of de luxe products catering to the DÉPARTEMENT PÉDAGOGIQUE Guided visits (1hour 30 min.) : 110 € / group ET CULTUREL demands of the affl uent bourgeoisie in the fashionable > Guided visits for adults over the age of 26: world of the second half of 19th century Paris. > Students and adults Guided visits (1hour 30 min.) : 115 € / group Group visits, information, and reservations at + 7,50 € per person Fig. 02 Over a hundred and forty years later, Marc Jacobs, a young e-mail address : [email protected] Guided visits (2 hours) : 133 € / group American designer, will play a major part in establishing tel. 01 44 55 59 26 / 75 + 7,50 € per person the international image of the Louis Vuitton brand, from fax 01 44 55 59 58 a single store in Paris, opened in 1854, to the 461 stores A maximum of 20 people per group. Fig. 01 Portrait of Louis Vuitton which exist today world-wide, always faithful to the history Fig. 02 Portrait of Marc Jacobs > Ages 4 to 18 of Louis Vuitton, but catering also to a new clientele. Workshops, guided visits for ages 4 to 18, The scenography of the exhibition by Samantha Gainsbury information and reservations at Length of Visit : 1h30 e-mail adress : [email protected] and Joseph Bennett, consecrates one floor to each tel. 01 44 55 59 25 / 75 fax : 01 44 55 59 58 Les Arts Décoratifs personality thus creating two different parallel worlds tel. 01 44 55 59 26 / 75 fax : 01 44 55 57 78 107, rue de Rivoli 75001 Paris which contiguously have turned this company into the © Les Arts Décoratifs. Jenny Dupuis pour le département pédagogique et culturel, mars 2012, document reproductible Dupuis pour le département pédagogique Jenny © Les Arts Décoratifs. Tel. : 01 44 55 57 50 world’s most profi table luxury fashion brand.

p p FLOOR PLAN OF VISIT FIRST AND SECOND FLOOR NOTES

17 accès au 18 niveau Access to the 2 par 2nd fl oor with l’ascenceur 17b 13 du palier panoramic lift only 15 22b 7 6 22

5b 28a 31b 5 29

31

4b 28b 30 4 33

34 35 36

3 1 2

37 38

Panoramic lift 1st fl oor Panoramic lift 2nd fl oor

SECOND FLOOR

Showcase 17.bis TOPSY TURVY Showcase 22. MAKING OF ONE BAG Showcase 22.bis BAGS (CHOCOLATE BOX) FIRST FLOOR Showcase 28.(a) BLUEY VUITTON Showcase 28.(b) PUT ON YOUR SUNDAY CLOTHES Showcase 02. A DAY’S WARDROBE Showcase 29. OH! GRAM Showcase 03. THE PERFECT WARDROBE Showcase 30. GO WILD IN THE COUNTRY Showcase 04. TRUNKS FOR ONE TRIP Showcase 31. FROM HAIR TO ETERNITY Showcase 04.bis INNOVATIONS Showcase 31.bis KAGE MOSS Showcase 05. CANVASES Showcase 33. JUST FOR KICKS Showcase 06. LV COLLECTION CATALOGUE BY LOUIS VUITTON Showcase 34. TAKASHI MURAKAMI Showcase 07. CONTAINER / CONTENTS Showcase 35. MY FAVOURITE COLOUR IS SHINY Showcase 13. LV MONOGRAM BY GEORGES VUITTON Showcase 36. STEPHEN SPROUSE Showcase 15. LOUIS VUITTON 1, 2012, CHRISTIAN Showcase 37. PEEPSHOW BORSTLAP FOR NOWNESS Showcase 38. SO LONG DEARIE. RICHARD PRINCE

Two photographs of Louis Vuitton and Marc Jacobs respectively, welcome the visitor at the entrance to the exhibition. The fi rst fl oor is divided into twelve spaces dedicated to the life and contribution to the history of fashion of Louis Vuitton.

2 11 MUSÉE DES ARTS DÉCORATIFS PERMANENT COLLECTIONS THE INSTALLATIONS AND COLLECTIONS FIRST FLOOR

Prolongation of the visit in the permanent collections of the musée des Arts décoratifs: About Louis Vuitton Following the theme of packing, travelling and exotism Born in the village of Anchay in 1821, Louis Vuitton left his native Jura in the East of France, to travel on foot to Paris at the age of 14. He soon became an apprentice packer, box and trunk-maker with the fi rm of Maréchal in the rue Saint Honoré in the fi rst district of the Third Floor capital. The son of a carpenter, Vuitton quickly mastered the skill of woodworking and trunk- Room 2: travel chest from the Middle Ages (1) making. Louis Vuitton gained his experience in the art of packing by travelling to the homes Rooms 10 and 11: writing essentials from the 17th century (2, 3) of wealthy ladies where he was employed to pack their clothes before they embarked on long Room 52: using exotic materials during the Art Déco period (7) journeys. Within ten years he had become such a master in the art of packing that he would regularly accompany his master Romain Maréchal to the Tuileries Palace where they worked Fourth Floor as exclusive packers to the Empress Eugénie and her ladies-in-waiting. The portrait of the Room 20: concerning Exoticism (4) Empress depicts the fashion of extremely voluminous garments worn by wealthy ladies at Room 25: voyages in the 18th century (5) that time.

Room 38: concerning Universal Exhibitions in the 19th century (6) About Volume and Invention Through this installation, composed of seven mannequins, the volume of garments necessary for one day in the life of an affl uent lady is shown, from the undergarments to the four outfi ts essential for the morning, the afternoon, for visiting (Fig.4) and fi nally for the evening ball. 4TH FLOOR Skirts could contain up to seven meters of material hence the necessity of a professional 4 5 5 packer. (2)

4 The theme of volume is repeated in miniature with a doll, whose trunk would be packed with 6 all the clothes depicted on these panels and organised by typology. (Fig.3) This is a typical example of what a woman’s wardrobe in the second half of the 19th century would be like. (3) 6 Just after his marriage in 1854 Louis Vuitton opened his own boutique in the rue Neuve- des-Capucines, close to the Place Vendôme in Paris. He shortened his credentials to “Louis Vuitton - Packer” and added “specialized in the packing of fashionable clothes”. He soon 3RD FLOOR understood the need to create a range of luggage which would be functional, innovative and of top-quality. He invented the fl at-topped trunk which was far easier to stack than its 3 predecessor, the dome-topped trunk. In this space the 20 to 30 trunks necessary for a single 2 voyage are exhibited, many bearing the plaque of his neighbor and friend Charles-Frederick 1 7 Worth, showing the close collaboration between the two houses and the link between the world of packing and haute-couture. At that time there were between three and four hundred trunk-makers in Paris, fi fty-eight of which were to be found in the fi rst district of Paris alone. (4) The competition was severe!

Access to the 1st to the 4th fl oor with panoramic lift About Signature and Style This space shows the technique of the fabrication of Louis Vuittons’ trunks. The trunks are Access level 1 all closed in order to show their exteriors. To make his trunks lighter Louis Vuitton covered cloakroom, restroom cash desk Jardin des Tuileries a poplar or pine wood structure with an elegant, grey-painted canvas called the “Trianon” GROUND canvas, which once varnished would render it waterproof. (5) FLOOR Different canvases used for covering Louis Vuitton’s trunks, each adopted with the aim of LOBBY thwarting counterfeiters, are shown. Other trunk-makers would use canvas too but it is the designs patented by Louis Vuitton which would set him apart from his competitors. The brown and beige and red and beige striped designs were patented in 1876 (Fig.6), and in 1888 the more sophisticated checkered covering was implemented. The latter was the fi rst trunk 107 main entrance Rue de Rivoli covering to integrate the complete name of Louis Vuitton like a signature in its design. The Access to the 1st to the 4th fl oor history of these patents has been traced through the National Patents Archives. (5bis et Fig.7) with panoramic lift With the expansion of his business Louis Vuitton opened workshops in Asnières, a village ACCES through 105

10 3 THE INSTALLATIONS AND COLLECTIONS FIRST FLOOR THE INSTALLATIONS AND COLLECTIONS SECOND FLOOR

situated outside Paris on the banks of the Seine in order to profit from river transport. About Marc Jacob’s collaborations with other artists The original store became too small and the premises were transferred to the rue Scribe in Sprouse - Goodbye Dearie: Marc Jacobs works in close collaboration with contemporary Paris, near the Paris Opera, right in the heart of the new Paris, which had been completely artists. In 2001 he asked Stephen Sprouse (1953-2001), an artist and fashion designer, to work transformed by the urban planning of Baron Haussmann. The new store was situated next on a new design for Louis Vuitton. Sprouse created the graffi ti line, using the traditional L.V. to the Grand Hotel and close to the Gare Saint Lazare. The Grand Hotel was a favorite choice monogram but reworking it in graffi ti fashion on the canvas of the bags for the Spring/Summer for the rapidly growing numbers of affl uent, international travelers who fl ocked to Paris at collection of 2001. (Fig.9) that time and provided a rich clientele for the Vuitton house. In the nearby rue de la Paix were The graffi ti idea was transferred to the clothes collection. The model presented is wearing to be found Paris’ most famous jewelers, perfumers and fashion houses (Doucet, Paquin, a dress printed with another Sprouse creation, the leopard design, has been turned upside- Charles-Fréderick Worth). down (“Handstand”) in much the same way as Marc Jacobs has succeeded in inversing fashion tendencies, with a total liberty of expression that is of ultimate importance to his creative Vuitton was invited to exhibit his fi rm’s products at the Universal Exhibitions held in Paris in work. (17bis) 1867, 1878 and 1889. In the 1867 Exhibition, Louis Vuitton, commercially innovative as usual, The graffi ti and leopard designs were reused on the clothes of the 2006-2007 Fall/Winter would show all the products which were for sale in his boutique, unlike other exhibitors collection. Here the patterned prints are presented on 5 mannequins. (36) who showed only their masterpieces. For each Exhibition he would take out a patent for his Murakami + 5 Bags + Painting + Film “Superfl at” Projection: In 2002 at the invitation of innovations, thus protecting them from counterfeiting. Louis Vuitton was awarded several Marc Jacobs, Takashi Murakami, a contemporary Japanese artist from Tokyo, began his long- medals during these exhibitions which he would proudly add to invoice headings. Forever standing collaboration with the Vuitton fashion label. At fi rst he contributed artwork which was striving to do more for his clientele, Louis Vuitton designed trunks for every occasion e.g. the then used in the design of a series of handbags. (Fig.11) In collaboration with Marc Jacobs trunk bed seen unfolded, with the corresponding design plans. (1887) (4b) he created the Monogram Multicolor canvas range of bags and accessories. This range used Indeed due to rapid industrial expansion during the second half of the 18th century and the the standard L.V. monogram, but in thirty-three different colorways. (Fig.10) Murakami also progress made in maritime and rail transport, the demand for new types of trunks for packing designed the Cherry Blossom, Cherry and Eye Love monograms. These series had an enormous both goods and travellers’clothes was high. commercial success. This space also includes a painting by Murakami and the projection of the A closed trunk dating from 1882 shows the individual monogram of the client for whom it was fi lm “Superfl at”, in which Murakami explains the artistic theory he has evolved and on which made. One of Louis Vuitton’s main aims was to personalize the pieces of luggage bought by his artistic creation is based. (34) his wealthy clients by printing their monograms or coats-of-arms on the canvas covering. Richard Prince + 5 Bags: Richard Prince, an American photographer, famous for his technique of “rephotographing”, was invited by Marc Jacobs to collaborate on his Spring 2008 collection. About Georges Vuitton and his innovations The collection was inspired in part by Prince’s “Nurse Paintings” which debuted in New York in 2003. (Fig.13) In the series of paintings, the nurses, inspired by the covers of pulp romance In 1890 Georges Vuitton, Louis’ eldest son, invented the theft-proof fi ve tumbler lock, which novels, all wore masks. In Marc Jacobs fashion show the nurses wear masks to show that for provided each customer with a personal combination to secure all his luggage. Louis Vuitton there is only one “Vuitton woman”. (38) The bags in this showcase are from the To show the connection between the container and its contents, two “weekend” trunks are Monogram Jokes series. Prince’s “Jokes” are mainly satirical one-liners and poke fun at topics shown with an x-ray vision of the thirty articles inside, essential for a weekend away. (7) such as religion, the relationship between husband and wife and his relations with women. Richard Prince also designed the Monogram Pulp collection in collaboration with Marc Jacobs. Louis Vuitton died in February 1892. His son Georges would play an important role in the managing of the business after Louis’ death. Georges opened the fi rst Vuitton store abroad in ABOUT THE SHOW Oxford Street in London in 1885. (Fig.5) In 1892 he produced the fi rst Louis Vuitton commercial The exhibition fi nishes with “Peepshow”. The visitor is invited to watch a fashion show, the catalogue for the London boutique. The catalogue presented a wide range of articles from very ultimate stage of Marc Jacob’s work, through a peephole. For the last two years Marc Jacob’s specialized trunks for transporting particular objects to simple bags for the typical traveler. (6) shows have been real entertainment events which refl ect Marc Jacob’s world and at the same time everything he has achieved over the last fi fteen years whilst working for Louis Vuitton. (37) In 1896 Georges introduced a new canvas design in honor of his father, but also in a renewed attempt to discourage counterfeiting. Georges’ new design would feature Louis Vuitton’s initials on a background pattern of stars and fl owers. This light, resistant canvas was varnished and completely water-proof. The monogram design was an immediate success and creates the link between the world of Louis Vuitton and that of Marc Jacobs on the second fl oor. Today the Louis Vuitton label is recognized world-wide by the simple monogram “L.V.” (13) BIBLIOGRAPHY ET SITES INTERNET Louis Vuitton Marc Jacobs, catalogue of the exhibition, Les Arts Décoratifs, Paris 2012 100 Malles de Légende-Louis Vuitton - Ed. de la Martinière, Paris 2010 Louis Vuitton Paul-Gérard Pasols, Ed. de la Martinière, Paris 2005 L’Initiation au Voyage - Ed. Les Arts Décoratifs, Paris 1987 Marc Jacobs Documentary by Loïc Prigent www.louisvuitton.com 9

4 THE INSTALLATIONS AND COLLECTIONS SECOND FLOOR THE INSTALLATIONS AND COLLECTIONS SECOND FLOOR

celebrities such as Keith Richards, Madonna, Scarlett Johansson and most recently Angelina Louise Jolie in his catwalk shows and publicity campaigns. The articulated mannequin used throughout the second fl oor to model Marc Jacobs’ designs Monogram “Oh! Gram”: Marc Jacobs’ first collection for Vuitton in March 1998 is totally is called Louise. Made especially for the exhibition in Japan by the designer Emma Davidge, minimalist. The predominant colours are white, grey and black whilst logos, monograms and she is indeed unique! bags are noticeably absent. Little by little the Monogram will make its appearance before becoming outrageously obvious in his collections for the year 2000. Marc Jabobs thus legitimizes About Marc Jacobs and his world the entrance into the world of fashion of Louis Vuitton. (29 et Fig.8) After completing his studies at the Parsons School of Art and design in New York, this young About tendences American designer, born in 1963, worked for the label Perry Ellis, before having to leave in 1992 after his “Grunge” Collection was severely criticized by the fashion industry. The creation of his Marc Jacobs uses recurring themes in his clothes designs. This tendency is revealed in his own label, “Marc Jacobs” in 1986, was followed in 2001 by the secondary line “Marc by Marc work as artistic director for Louis Vuitton over the last fi fteen years. Jacobs”. He was invited to become Artistic Director of LVMH (Louis Vuitton, Moët and Chandon Bluey Vuitton: Marc Jacob’s use of his favorite color is revealed in various Louis Vuitton fashion and Hennessey) by the conglomerate’s President Bernard Arnault in 1997. It was a daring choice! shows.(28a) Marc Jacobs arrived at a strategic moment in the history of Louis Vuitton. Fine leather goods Put on your Sunday Clothes: In his Fall/Winter 2008-2009 collection Marc Jacobs refers back were infi ltrating the world of fashion. Bernard Arnault asked Marc Jacobs to create a new to the origins of Louis Vuitton’s profession as a packer of large volumes of material and other ready-to-wear collection that would incorporate Vuitton’s fi ne leather and canvas bags. Treading objects in the trunks of the 19th century. (28b) carefully, Marc Jacobs’ fi rst collection for Louis Vuitton was a luxury sportswear line. The fi rst Go Wild in the Country: Marc Jacob’s fascination with the exotic is revealed on these models fashion show was held in 1998 but the L.V. monogram was concealed in the linings of the clothes taken from several collections wearing animal masks which correspond in differing ways to shown. It was only in the Spring-Summer collection of 2000 that the famous monogram came the materials used in these collections. (30) out of its hiding place and was fully revealed on the catwalk. (Fig.8) From Hair to Eternity: The exotic tendency is repeated on this model with the addition of a Marc Jacobs works by instinct rather than strategy. In his workshop in a private mansion in the wig inspired by the creations of the Australian performer Leigh Bowery in 1980s London. The rue du Bac in the seventh district of Paris, he surrounds himself with elements that provide him heads and hair-styles of the mannequins in the exhibiton were designed by Guido Palau and with inspiration. The “Animated Inspiration Board” or “Tumbler, is an organic representation of Desi Santiago, close associates of Marc Jacobs. (31) inspirational objects, photos from magazines, pieces of material, vintage clothes, favorite books Just for Kicks: Cancan dancers model a wide range of Vuitton shoes, many designed by Fabrizio and fi lms, which help Marc Jacobs in his creative work. (17) Viti and made in Vuitton’s Italian workshops. The effect is kaleidoscopic! (33) My favourite colour is shiny: A disco dance fl oor and punk hair-dos animate this installation About Bags which contains creations made using various shiny materials and appliqués from a number of different collections ready for the dance fl oor! (35) Contrary to traditional Louis Vuitton bags, such as “Keepall” or the “Speedy”, bags created by Marc Jacobs and his collaborators are edited only for the period of the collection. Bags (Chocolate Box): This seven-meter long installation showing fi fteen years of creation, is composed of fi fty-three Louis Vuitton bags in non-chronological order. The bags are both fashionable and temporary and pass by like a stylistic lexicon of the Vuitton label. This universe exists in close collaboration with the permanent Vuitton collections, but has attracted a new clientele. (22bis et Fig.11) Making of one bag: Defi ned as the “trunk of the 21st century”, an L.V. bag is the crystallization of a collection. The elaboration and making of a bag is a long and painstaking affair. Vuitton bags are mostly made by hand in different workshops and are sold uniquely in the 461 Louis Vuitton stores around the world, in Louis Vuitton boutiques, in certain big department stores and at the offi cial Louis Vuitton site online. (22)

Certain of the following exhibits are commented by Marc Jacobs himself. His voice is interwoven with mood music. Each commentary lasts between 15 seconds and 1 minute 30 seconds. A simultaneous translation in French is projected onto the wall.

About celebrities has often modeled for Vuitton and is here seen on the catwalk in one of Marc Jacob’s latest collections for Louis Vuitton. (Fall/Winter 2011-2012) (Fig.12)

Fig.13 The «Nurses» at the S/S 2008 Louis Vuitton fashion show, October 2007, 12 bags from the Jokes Monogram line created by The outfi t she is wearing in the video is remodeled by “Louise” mannequin in the adjacent Richard Prince, , Karolina Kurkova, Lara Stone, Nadja Auermann, © LOUIS VUITTON / CHRIS MOORE cage. (31bis) Marc Jacobs frequently links the words of entertainment and fashion, by using

8 5 Fig. 03 Doll trousseau and trunk, c. 1865 Les Arts Décoratifs, Paris gift of Maurice Bisson, 1945, inv. 35336

Fig. 08 Fig. 09 Vogue France, S/S 2000 Bag Alma Graffiti and matching gloves, created in © Ruven Afanador collaboration with Stephen Sprouse, S/S 2001, L'Offi ciel © Christophe Kutner

Fig. 04 Town dress, 1866-1868 Les Arts Décoratifs, Paris, collection Mode and Textile purchased 1996, inv. 996.1.1.1-2

Fig. 05 Fig. 10 Louis Vuitton poster advertisement Fig. 06 Louis Vuitton F/W 2011/2012 Fashion Show Paris and London, 1887 Trunk Louis Vuitton 1869-1871, © Louis Vuitton / Chris Moore Louis Vuitton Archives Les Arts Décoratifs, Paris gift of Maison Louis Vuitton, 1987, inv. 987.51

Fig. 07 Louis Vuitton bed trunk in Damier canvas, 1891 Les Arts Décoratifs, Paris gift of Maison Louis Vuitton, 1987, inv. 987.53 Fig. 11 Trunk Panda, toile Monogram, 2003 Fig. 12

Crédits photographiques : © Louis Vuitton/© Takashi Murakami/Kaikai Kiki Co, Ltd. Louis Vuitton F/W 2011/2012 Fashion Show © Photos Arts Décoratifs / Jean Tholance : fi g. 3, 4, 6, 7 All rights reserved. All Rights reserved © Louis Vuitton / Chris Moore

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