View allAll Photos Tagged lvmh
Les travaux de la "Maison LVMH" prévue dans l'ancien batiment du Musée national des arts et traditions populaires, situé au coeur du Jardin d'acclimatation, accusent un retard de plusieurs années. Ce batiment conçu par les architectes Michel Jausserand et Jean Dubuisson et ouvert en 1972 doit être totalement réaménagé par l'agence d'architecture de Frank Gehry qui est l'auteur du batiment de la Fondation Louis Vuitton toute proche. L'ouverture de « la Maison LVMH / Arts – Talents – Patrimoine » aurait du avoir lieu en 202O comme l'avait annoncé Bernard Arnault, le PDG de LVMH, en 2017. Les travaux de désamientage semblent terminés et les autres phases du chantier devraient débuter mais à ce jour, LVMH n'a plus communiqué sur ce projet.
www.lvmh.fr/actualites-documents/communiques/anne-hidalgo...
"House by the railroad" (1925) oil on canvas by Edward Hopper
www.fondationlouisvuitton.fr/en/expositions/exposition-mo...
"La Fondation d'entreprise Louis Vuitton, anciennement Fondation d'entreprise Louis Vuitton pour la création, lancée en octobre 2006, a été créée par le groupe LVMH et ses maisons. Elle a pour objectif de promouvoir l’art et la culture et de pérenniser les actions de mécénat engagées depuis 1990 par le groupe.
Le bâtiment, conçu par l'architecte Frank Gehry, est situé au Jardin d'acclimatation, dans le bois de Boulogne. L'inauguration a eu lieu le 20 octobre 2014."
fr.wikipedia.org/wiki/Fondation_d'entreprise_Louis_Vuitton
"The building of the Louis Vuitton Foundation (previously Louis Vuitton Foundation for Creation, in French "Fondation Louis-Vuitton pour la création"), started in 2006, is an art museum and cultural center sponsored by the group LVMH and its subsidiaries but run as a legally separate, nonprofit entity as part of its promotion of art and culture.
The $143 million museum in Paris has recently been completed and is opened in October 2014. The new building was designed by the architect Frank Gehry, and is adjacent to the Jardin d'Acclimatation in the Bois de Boulogne of the 16th arrondissement of Paris."
ずっとJRセントラルタワーズで撮ってるわけにもいかないので、そろそろ目的の飲み屋に移動です。でも、移動しながらも、撮る。
@Midland square, Meieki area, Nakamura ward, Nagoya Aichi. （愛知県名古屋市中村区 ミッドランドスクエア）
Station Haarlem 23/06/2021 12h14
The Venice Simplon Orient Express is one of the most famous luxury trains in the world. The train connects a number of European cities, such as London, Paris, Venice and Istanbul. The original 1920 carriages have been carefully restored and transport you to another time with the comforts of today. An Art Deco decor, gastronomic indulgence, live entertainment, a unique experience. On June 22, 2021, this train came from Venice to Amsterdam to return to Venice on June 24, 2021. On June 23, there was a press moment in Haarlem where the train was at the platform for a few hours.
The bar coach of the VSOE.
Venice-Simplon Orient Express
The Venice Simplon-Orient-Express (VSOE) is a private luxury train service from London to Venice and other European cities. It is currently owned by Belmond, which operates 45 luxury hotels, restaurants, tourist trains and river cruises in 24 countries. It was agreed in December 2018 for the service to be acquired by LVMH in a transaction initially expected to close in the first half of 2019.
These VSOE services are not to be confused with a regularly scheduled train called the Orient Express, which ran nightly between Paris and Bucharest - in the last years of operation cut back to between Strasbourg and Vienna - until 11 December 2009. This latter was a normal EuroNight sleeper train and was the lineal descendant of the regular Orient Express daily departure from Paris to Vienna and the Balkans. While this descendant train was primarily used for every sort of passengers to Central and Eastern Europe, applying only the standard international train fares, the VSOE train is aimed at tourists looking to take a luxury train ride. Fares on the Venice Simplon-Orient-Express are high as the service is intended not as an ordinary rail service, but as a leisure event with five-star dining included.
The train was established in 1982 by James Sherwood of Kentucky, USA. In 1977 he had bought two original carriages at an auction when the Compagnie Internationale des Wagons-Lits withdrew from the Orient Express service, passing the service on to the national railways of France, Germany, and Austria. Over the next few years, Sherwood spent a total of US$16 million purchasing 35 sleeper, restaurant and Pullman carriages. On 25 May 1982, the first London–Venice run was made.
The VSOE has separate restored carriages for use in the UK and for mainland Europe, but all of the same vintage (mostly dating from the 1920s and 1930s). Passengers are conveyed across the English Channel by coach on the Eurotunnel shuttle through the Channel Tunnel. In the UK Pullman carriages are used; in continental Europe sleeping cars and dining cars of the former Compagnie Internationale des Wagons-Lits are used. Sleeper carriages have a range of accommodation available including Grand Suites, Cabin Suites, Twin Cabins and Single cabins.
VSOE runs services between March and November. The classical London - Paris - Milan - Venice (and return) route via the Simplon Tunnel was altered in 1984 to serve Zürich, Innsbruck and Verona through the Brenner Pass. This journey is offered once or twice a week, depending on other trips. Two or three times a year Prague or Vienna and Budapest are also accessed, starting from Venice, and returning to Paris and London. Every September the train also travels from London and Paris to Istanbul via Budapest, Sinaia and Bucharest - in the last three cities a sightseeing tour (and in the two capitals an overnight stay in a hotel) also takes place - the return trip on the same route ends in Venice.
Venice Simplon-Orient-Express at Dresden station
While the above mentioned routes are available most years, some seasons have also included unique destinations, among them Cologne, Rome, Florence, Lucerne, the High Tatras, Cracow, Dresden, Copenhagen and Stockholm. Such a journey is currently provided to Berlin.
[ Wikipedia - VSOE ]
Station Haarlem 23/06/2021 12h28
The Venice Simplon Orient Express is one of the most famous luxury trains in the world. The train connects a number of European cities, such as London, Paris, Venice and Istanbul. The original 1920 carriages have been carefully restored and transport you to another time with the comforts of today. An Art Deco decor, gastronomic indulgence, live entertainment, a unique experience. On June 22, 2021, this train came from Venice to Amsterdam to return to Venice on June 24, 2021. On June 23, there was a press moment in Haarlem where the train was at the platform for a few hours.
A detail of one of the coaches.
Venice-Simplon Orient Express
The Venice Simplon-Orient-Express (VSOE) is a private luxury train service from London to Venice and other European cities. It is currently owned by Belmond, which operates 45 luxury hotels, restaurants, tourist trains and river cruises in 24 countries. It was agreed in December 2018 for the service to be acquired by LVMH in a transaction initially expected to close in the first half of 2019.
These VSOE services are not to be confused with a regularly scheduled train called the Orient Express, which ran nightly between Paris and Bucharest - in the last years of operation cut back to between Strasbourg and Vienna - until 11 December 2009. This latter was a normal EuroNight sleeper train and was the lineal descendant of the regular Orient Express daily departure from Paris to Vienna and the Balkans. While this descendant train was primarily used for every sort of passengers to Central and Eastern Europe, applying only the standard international train fares, the VSOE train is aimed at tourists looking to take a luxury train ride. Fares on the Venice Simplon-Orient-Express are high as the service is intended not as an ordinary rail service, but as a leisure event with five-star dining included.
The train was established in 1982 by James Sherwood of Kentucky, USA. In 1977 he had bought two original carriages at an auction when the Compagnie Internationale des Wagons-Lits withdrew from the Orient Express service, passing the service on to the national railways of France, Germany, and Austria. Over the next few years, Sherwood spent a total of US$16 million purchasing 35 sleeper, restaurant and Pullman carriages. On 25 May 1982, the first London–Venice run was made.
The VSOE has separate restored carriages for use in the UK and for mainland Europe, but all of the same vintage (mostly dating from the 1920s and 1930s). Passengers are conveyed across the English Channel by coach on the Eurotunnel shuttle through the Channel Tunnel. In the UK Pullman carriages are used; in continental Europe sleeping cars and dining cars of the former Compagnie Internationale des Wagons-Lits are used. Sleeper carriages have a range of accommodation available including Grand Suites, Cabin Suites, Twin Cabins and Single cabins.
VSOE runs services between March and November. The classical London - Paris - Milan - Venice (and return) route via the Simplon Tunnel was altered in 1984 to serve Zürich, Innsbruck and Verona through the Brenner Pass. This journey is offered once or twice a week, depending on other trips. Two or three times a year Prague or Vienna and Budapest are also accessed, starting from Venice, and returning to Paris and London. Every September the train also travels from London and Paris to Istanbul via Budapest, Sinaia and Bucharest - in the last three cities a sightseeing tour (and in the two capitals an overnight stay in a hotel) also takes place - the return trip on the same route ends in Venice.
Venice Simplon-Orient-Express at Dresden station
While the above mentioned routes are available most years, some seasons have also included unique destinations, among them Cologne, Rome, Florence, Lucerne, the High Tatras, Cracow, Dresden, Copenhagen and Stockholm. Such a journey is currently provided to Berlin.
[ Wikipedia - VSOE ]
In collaboration with PKC Fowler - we forget who took which photos.
The building of the Louis Vuitton Foundation (previously Louis Vuitton Foundation for Creation, in French "Fondation Louis-Vuitton pour la création"), started in 2006, is an art museum and cultural center sponsored by the group LVMH and its subsidiaries. It is run as a legally separate, nonprofit entity as part of LVMH's promotion of art and culture.The $143 million museum in Paris was opened in October 2014. The building was designed by the architect Frank Gehry, and is adjacent to the Jardin d'Acclimatation in the Bois de Boulogne of the 16th arrondissement of Paris. In 2001, Bernard Arnault, the Chairman of LVMH, met Frank Gehry, and told him of plans for a new building for the Louis Vuitton Foundation for Creation on the edge of the Bois de Boulogne. The building project was first presented in 2006, with costs estimated at around €100 million ($127 million) and plans to open in late 2009 or early 2010. Suzanne Pagé, then director of the Musée d'Art Moderne de la Ville de Paris, was named the foundation’s artistic director in charge of developing the museum's program. The city of Paris which owns the park granted a building permit in 2007. In 2011, an association for the safeguard of the Bois de Boulogne won a court battle, as the judge ruled the centre had been built too close to a tiny asphalt road deemed a public right of way. Opponents to the site had also complained that a new building would disrupt the verdant peace of the historic park. The city appealed the court decision. Renowned French architect Jean Nouvel backed Gehry and said of the objectors: "With their little tight-fitting suits, they want to put Paris in formalin. It's quite pathetic." Eventually a special law was passed by the Assemblée Nationale that the Fondation was in the national interest and “a major work of art for the whole world,” which allowed it to proceed. The museum opened to the public in October, at a reported cost of $143 million. Before the official opening, it provided the venue for Louis Vuitton’s women’s spring/summer 2015 fashion show. In May 2017, Marianne, a French news magazine, revealed the final cost of the building: €780 million, close to $900 million. en.wikipedia.org/wiki/Louis_Vuitton_Foundation
Dieter Buchhart has been called the world’s leading Jean-Michel Basquiat expert. He’s curated or co-curated nearly all of the late New York artist’s major institutional shows this decade, including retrospectives at the Fondation Beyeler in 2010, the Art Gallery of Ontario in 2015, and the Barbican in London in 2017.
So I was bit taken aback when, in a recent phone conversation, the planet’s top Basquiat authority informed me that the rapturously received 120-work Basquiat retrospective he curated at the Fondation Louis Vuitton (up at the Paris museum until January 21st) is not only more extensively sourced and thorough than any show of the artist staged before, but also probably the last time a show of its scale will ever be staged.
“This is the most comprehensive Basquiat show, and perhaps one day, one of the other great museums will try it again, but it will be very, very, very hard. It will kind of be a ‘Mission: Impossible,’” Buchhart said during a phone call from Paris. “It was already now a sort of ‘Mission: Impossible,’ and of course, in a couple of years, it will be even more of a ‘Mission: Impossible.’”
I initially took this as hyperbole—star curators are nothing if not enthusiastic in their proclamations. But having seen the show, which is spread generously through the 126,000-square-foot Frank Gehry–designed space that opened in a woodsy part of the 16th Arrondissement in 2014, it occured to me that perhaps it’s true that such a gobsmacking array of Basquiat’s best paintings could never be assembled again. Buchhart insisted this was the case, and ticked off the reasons why. Basquiat’s market has shot up in the last few years, he said, and a show of 120 works needs a massively well-endowed museum to cover the insurance costs of shipping and hosting dozens of paintings that could be worth more than $10 million, and at least one that is worth much more than that: the untitled 1982 skull painting Yusaku Maezawa bought at Sotheby’s New York in May 2017 for $110.5 million. The lack of institutional interest in Basquiat during his lifetime and in the decades when the late’s artist’s work was relatively affordable means that the bulk of his work is still in the hands of private collectors, many of whom are reticent to let the public see their holdings, or even send them away on loans.
Unlike the institutions that passed on Basquiat for years, the Fondation Louis Vuitton has amassed an impressive trove of the artist’s work, including Grillo (1984), a showstopper that depicts two figures across four linked canvases stretching more than 17 feet, and Negro Period (1986), a tryptic that features tangled drawings of black cultural figures on two of its three panels, and then a striking portrait on its rightmost panel.
The exhibition’s curators also had access to even more rare works through the largess of the Fondation’s president, LVMH CEO Bernard Arnault, who has collected Basquiat for decades and showed immense enthusiasm for his works years before they became must-haves for any world-class contemporary collection.
“Basquiat! I have a deep and personal passion for the work of Jean-Michel Basquiat, whose works I first discovered in New York in the late 1980s,” Arnault wrote in the exhibition catalogue. Arnault began planning the world’s grandest Basquiat exhibition nearly a decade ago, when Gehry’s spasmodic sketches of undulating waves had yet to be turned into a real building. The first order of business was asking Buchhart to put the show together, alongside the museum’s artistic director, Suzanne Pagé. Even at that early stage, he knew his exceptional Basquiat holdings gave him a leg-up in staging a once-in-a-lifetime show.
Some of Arnault’s Basquiats remain in his name, as opposed to the Fondation’s collection, and the luxury goods billionaire loaned work from his personal trove—which adorns walls of such properties as his Saint-Tropez home, his apartment in Paris, his penthouse at 50 Central Park West, his multiple houses in Beverly Hills, and perhaps even his yacht—even if he insisted on incognito wall text attributing them to “a private collection.”
When Arnault tapped Buchhart to organize the exhibition, the curator immediately set out to do something more ambitious than past shows, which typically tracked the artist’s meteoric rise and tragic death over a too-short career. Instead of being organized chronologically, the show’s 120 works are presented in thematic clusters: large head paintings; smaller head drawings; depictions of Basquiat’s “heroes and warriors,” which include bebop titans and boxing champions; paintings that rely heavily on text; history paintings; paintings that take stock of the African diaspora and slave trade routes; collaborations with Andy Warhol; and his final works—including the late masterpiece Riding with Death (1988), which rarely leaves its very private collection, and is on display in Paris for the first time. The unorthodox sequencing pays off in a big way. Right out the gate, there are three massive skull works hung in a small cupola that will wow Basquiat fans and win over any skeptic: Maezawa’s record-breaking, black-on-cerulean face with teeth gnashing; the somber yellow-lined skull from 1981 that’s been a highlight of The Broad in Los Angeles since it opened in 2015; and In This Case (1983), a red-washed noggin with a rain cloud for an eyeball that’s owned by Giancarlo Giammetti, the business partner of fashion designer Valentino Garavani.
“It was very important for me to break with the usual retrospective, where you start with the early works, and then you go on, so I started with one of the strongest expressions of humanism, the strongest expression of existential fear—the three heads,” Buchhart said. “It was to mark the genius of Basquiat, and also give [visitors], at the entrance, an idea of the masterpieces he created.”
As you continue through the show, the sequencing of works strengthens the main argument Buchhart set out to make: that Basquiat was not really a Neo-Expressionist revitalizing a bombastic aesthetic, but a conceptual artist threading the context of where he came from into the narrative of his life’s work.
While discussing this conceptual framing, I floated a theory by Buchhart: that Basquiat was a canny observer of the way the market responded to his work, and would have marveled at the Fondation’s staffers crisscrossing the globe to track down his works in the vacation homes of collectors. Basquiat would have seen the international dissemination of his now-pricey paintings as a parallel to the global tradewinds he mapped in his works—particularly the paintings dealing with the slave trade, a market he compared to the art market on many occasions, portraying men in hats selling both people and pictures.
Buchhart agreed with the idea, noting that in addition to the collectors who did advertise their loans in the wall text—including prominent players such as Eli and Edythe Broad in Los Angeles, Peter M. Brant from Greenwich, Connecticut, and others as far-flung as Heidi Horten in Vienna, Yoav Harlap in Israel, and the Mugrabi family—there were dozens of others who stayed anonymous. “He’s really global—Hong Kong, Australia, of course you have South America, Japan, other parts of Asia, Indonesia, many private collections in Europe, even smaller holdings in Africa,” Buchhart said.
While many collectors are willing to loan work for large portions of the year—Maezawa’s masterpiece was at the Brooklyn Museum and the Seattle Art Museum before it went to Paris, meaning it’s been traveling for most of the roughly 20 months he’s owned it—some have started to worry about shipping increasingly valuable canvases.
“It was difficult,” Buchhart said. “People are much less generous in lending, because now the value is so high. People started having more concerns than they did in the past.”
Still, after more than a decade of putting together ambitious Basquiat shows, Buchhart has become good at knowing who to turn to when there’s a specific piece that scratches a curatorial itch or fills a narrative gap. He said he was able to offer primo real estate to collectors who were reluctant to share their works, enticing them with the promise that certain overlooked parts of the artist’s practice would get their star turn in this exhibition’s rejiggered format.
But some resistant collectors took more persuading. To entice would-be lenders into handing over their prized possessions for a few months, Arnault himself sent handwritten letters offering them the pick of the litter from his own personal collection to fill the white space on their walls for the duration of the show.
The surging Basquiat market has also created the problem of putting up the daunting insurance money needed to house so many blue-chip works. Buchhart claimed he didn’t know the total estimate for what the works in the show would hypothetically cost, and thus didn’t know the indemnity that had been assigned to the exhibition so that it could be staged. Dealers familiar with the Basquiat market said they had not looked at all 120 works closely enough to go on the record with a ballpark estimate.
But there’s no doubt that 120 of the greatest Basquiats in existence amount to a whole lot of money. Since 2007, nearly 40 of his paintings, drawings, and canvases on mounted wood have sold for more than $10 million. And accordingly, the two large-scale head paintings in the show not owned by Maezawa would have to be considered $100 million pictures; the 25 or so large-scale paintings are at least equal to those that have recently sold in the range of $30 million. No large-scale, four- or five-paneled works like the ones in the Fondation’s collection have come to auction, but they could conceivably break $50 million given their sheer size. In addition to these knockouts, there are dozens of smaller paintings and drawings that would collectively bring in a hefty sum. All told, it seems reasonable to estimate that the total value of the works in the exhibition could approach $2 billion. Insurance for this kind of exhibition would be prohibitive for most private museums. In 2011, when the National Gallery in London staged a show of nine works by Leonardo da Vinci, the indemnity was a whopping £3.3 billion, and it was halfway covered by taxpayers.
But in this case, the museum in question is sponsored by LVMH, which has assets of €68.6 billion ($82.2 billion). Buchhart says having such a backer is a huge help, but it’s also another reason why it will be difficult to stage such a show again, especially as Basquiat’s prices continue to rise.
“The insurance value of a show like this is very high, so it limits the opportunities,” Buchhart said. “On the good side, there is the recognition that comes with the high prices, but there is also the downside—the exhibitions become very expensive to do, which limits the options to do these shows.”
In March, a selection of the works—about 70 of the 120—will travel to New York to inaugurate the Brant Foundation’s first Manhattan gallery space, in Walter De Maria’s old studio in the East Village. Appropriately enough, the location is in Basquiat’s old stomping grounds, right around the corner from the Pyramid Club and other old and bygone 1980s venues where the artist jammed with his band Gray and left endless tags on the walls and bathrooms.
Until then, there’s no doubt that the full show in Paris will be as mobbed as it was on the brisk Saturday in October when I visited. There were lines around the sprawling concourse in the Bois de Boulogne then, and the visitors standing in them looked giddy, despite the hours of waiting that lay ahead.
Some of the younger people in the queue wore Basquiat shirts and were clearly very eager to witness for the first time a complete show of his work. I mentioned this to Buchhart and he said that he had noticed the kids, too. He talked about those who had heard of Basquiat, double-tapped pictures of Basquiat on Instagram, read about Basquiat, but never actually seen a Basquiat.
“It marks a global change in the reception of Basquiat, and educates many more people about what he actually did,” he said.
Self-portrait with Andy Warhol
"Dos Cabezas" - 1982 -
Acrylic and oilstick on canvas mounted on wood supports
Private collection
---------
"Basquiat and Warhol were officially introduced by their gallerist, Bruno Bischofberger. On this occasion Warhold took a series of Polaroids to create a portrait of the young artist. Two hours later, Basquiat's assistant, Stephen Torton, appeared at the Factory with this double portrait, still wet, which he had run the fifteen blocks from the studio carrying (the canvas was too large for a cab). Warhol was stunned: "I'am really jealous _ he is much faster than me...".
www.fondationlouisvuitton.fr/fr/expositions/exposition/je...
La Samaritaine est un grand magasin situé à Paris entre la rue de Rivoli et la Seine, à l'aplomb du pont Neuf dans le 1er arrondissement de Paris. Fondée en 1870 par Ernest Cognacq, La Samaritaine, devenue déficitaire, est rachetée par LVMH et ferme en 2005 pour réaménagement de ses bâtiments et mise aux normes de sécurité. La Samaritaine reste, jusqu'à sa fermeture, le grand magasin parisien le plus important par sa taille, avec ses quatre magasins totalisant une surface de vente de 48 000 m2.
La réouverture de La Samaritaine (réduite à 10 000 m2 contre 30 000 m2 avant 2005), a pris 10 ans de retard en raison de multiples péripéties (des recours juridiques et la pandémie de Covid-19) et a finalement lieu le 23 juin 2021.
Ses bâtiments de style art nouveau et art déco sont l'œuvre des architectes Frantz Jourdain et Henri Sauvage ; le magasin principal est inscrit au titre des monuments historiques.
Quand LVMH rencontre l'artiste japonaise Yayoi Kusama au travers d'une sculpture gonflable type Gulliver.
Archive 2023 jamais éditée.
Sony A7 IV
Louis Vuitton Museum Paris, France
The building of the Louis Vuitton Foundation, started in 2006, is an art museum and cultural center sponsored by the group LVMH and its subsidiaries but run as a legally separate, nonprofit entity as part of its promotion of art and culture.
The $143 million museum in Paris opened in October 2014. The new building was designed by architect Frank Gehry, and is adjacent to the Jardin d'Acclimatation in the Bois de Boulogne of the 16th arrondissement of Paris.
The two-story structure has 11 galleries of different sizes (in total 12,600 m2, a voluminous 350-seat auditorium on the lower-ground floor and multilevel roof terraces for events and art installations. Gehry had to build within the square footage and two-story volume of a bowling alley that previously stood on the site; anything higher had to be glass. The resulting glass building takes the form of a sailboat's sails inflated by the wind. These glass sails envelop the "iceberg", a series of shapes with white, flowery terraces. The galleries on the upper floors are lit by recessed or partially hidden skylights. According to Gehry's office, more than 400 people contributed design plans, engineering rules, and construction constraints to a shared Web-hosted 3D digital model. The 3,600 glass panels and 19,000 concrete panels that form the façade were simulated and then moulded by industrial robots working off the common model. STUDIOS architecture was the local architect for the project spearheading the transition from Gehry's schematic design through the construction process in Paris to building space. Construction began in March 2008. The realization of the 38,400 m2 project required innovative technological developments, from the design phase with the use of 3D design software, Digital Project, specially adapted for the aviation industry. All teams in project management have worked simultaneously on the same digital model so that professionals can exchange information in real time. The teams participating in the construction of the building have been awarded several architectural awards in France and the USA.
In Paris. Designed by Frank Gehry and built in 2014. A French art museum and cultural center sponsored by the group LVMH and its subsidiaries. It is run as a legally separate, nonprofit entity as part of LVMH's promotion of art and culture. In Bois de Boulogne.
Bof ! - LVMH museum - exposition maquettes - Paris
Don't use and don't link this image on websites, blogs or other media without my explicit permission. All rights reserved
La Fondation d'entreprise Louis Vuitton, anciennement Fondation d'entreprise Louis Vuitton pour la création1, lancée en octobre 2006, a été créée par le groupe LVMH et ses maisons. Elle a pour objectif de promouvoir l’art et la culture et de pérenniser les actions de mécénat engagées depuis 1990 par le groupe.
Le bâtiment, conçu par l'architecte Frank Gehry, est situé au Jardin d'acclimatation, dans le bois de Boulogne à Paris. Ce projet qui se veut une réplique à la fondation Pinault installée à Venise, est l'expression médiatique de la concurrence entre Bernard Arnault, le patron du numéro un mondial du luxe et son rival François Pinault
Une oeuvre in situ, c'est-à-dire conçue sur place en tenant compte des spécificités du lieu, intitulée L'Observatoire de la lumière de l'artiste Daniel Buren a été inaugurée en 2016. Elle consiste à recouvrir les douze verrières du bâtiment de filtres colorés de 13 couleurs distinctes et disposés en un motif régulier. Les filtres agissent en modifiant la lumière et l'apparence de l'édifice en fonction des conditions changeantes de la météo.
Luxury Style
Fendi launched its distinctive watches in the late 1980's.
In 1962, the Fendis signed up German designer Karl Lagerfeld, who immediately created the inverted FF logo that joined the growing list of international status symbols.
Marvin Traub, president of store giant 'Bloomingdale's' was the one that discovered Fendis' leather goods and introduced them to the United States.
Other outlets soon followed and today Fendi is largely represented through high-end department stores.
10 years ago in 1999 Fendi sold out to Prada for an estimated $850 million USD bypassing a bid from Gucci of a rumoured $700 million USD.
The world leader in luxury Louis Vuitton, Moet Hennessy (LVMH) have since bought out Prada and are investing heavily in the brand and expanding the network of boutiques.
Fun Fact
24 K Gold is 99% Pure Gold Content, but because of its purity it is a much softer metal than the 14 K gold most commonly used in jewellery that has other added precious metals.
flickr today
Louis Vuitton Museum Paris, France
The building of the Louis Vuitton Foundation, started in 2006, is an art museum and cultural center sponsored by the group LVMH and its subsidiaries but run as a legally separate, nonprofit entity as part of its promotion of art and culture.
The $143 million museum in Paris opened in October 2014. The new building was designed by architect Frank Gehry, and is adjacent to the Jardin d'Acclimatation in the Bois de Boulogne of the 16th arrondissement of Paris.
The two-story structure has 11 galleries of different sizes (in total 12,600 m2, a voluminous 350-seat auditorium on the lower-ground floor and multilevel roof terraces for events and art installations. Gehry had to build within the square footage and two-story volume of a bowling alley that previously stood on the site; anything higher had to be glass. The resulting glass building takes the form of a sailboat's sails inflated by the wind. These glass sails envelop the "iceberg", a series of shapes with white, flowery terraces. The galleries on the upper floors are lit by recessed or partially hidden skylights. According to Gehry's office, more than 400 people contributed design plans, engineering rules, and construction constraints to a shared Web-hosted 3D digital model. The 3,600 glass panels and 19,000 concrete panels that form the façade were simulated and then moulded by industrial robots working off the common model. STUDIOS architecture was the local architect for the project spearheading the transition from Gehry's schematic design through the construction process in Paris to building space. Construction began in March 2008. The realization of the 38,400 m2 project required innovative technological developments, from the design phase with the use of 3D design software, Digital Project, specially adapted for the aviation industry. All teams in project management have worked simultaneously on the same digital model so that professionals can exchange information in real time. The teams participating in the construction of the building have been awarded several architectural awards in France and the USA.
"Brown Spots (Portrait of Andy Warhol as a Banana)" - 1984 -
Acrylic and oilstick on canvas
Private collection
Courtesy Galerie Bruno Bischofberger, Männedorf-Zürich
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This is a testament to Warhol's important role in Basquiat's life and work. In this work the younger artist creates a pictorial analogy of the older artist's multidisciplinary pratice, particularly his involvement with The Velvet Underground. Warol painted the cover of their first album, depicting a banana that could actually be peeled from the surface of the case. A the top of the banana here, in a loving and playful nod, is Warhol's silver wig."
www.fondationlouisvuitton.fr/fr/expositions/exposition/je...
Cette impressionnante sculpture représente un soleil fait d’or rayonnant sur la façade. Avec cette pièce d’art inattendue et surprenante, Louis Vuitton suscite l’intérêt des touristes pour son établissement mais aussi pour l’Art. Ce soleil grandiose rappelle le symbole même du Roi Soleil et du prestige souhaité lors de la construction du Château de Versailles.
Avec cette référence au Roi Soleil, Louis Vuitton a fait savoir au monde entier qu’il rayonne sur le monde du luxe et n’a pas de concurrents sérieux à son niveau de gloire et de prestige. Pour cela, le groupe LVMH a donné carte blanche à Peter Marino, l’atypique architecte qui a déjà réalisé pour le groupe de nombreux projets.
Amazing modern architecture by Frank Gehry. Mind you, I am not sure I really liked it. In collaboration with PKC Fowler.
The building of the Louis Vuitton Foundation (previously Louis Vuitton Foundation for Creation, in French "Fondation Louis-Vuitton pour la création"), started in 2006, is an art museum and cultural center sponsored by the group LVMH and its subsidiaries. It is run as a legally separate, nonprofit entity as part of LVMH's promotion of art and culture.The $143 million museum in Paris was opened in October 2014. The building was designed by the architect Frank Gehry, and is adjacent to the Jardin d'Acclimatation in the Bois de Boulogne of the 16th arrondissement of Paris. In 2001, Bernard Arnault, the Chairman of LVMH, met Frank Gehry, and told him of plans for a new building for the Louis Vuitton Foundation for Creation on the edge of the Bois de Boulogne. The building project was first presented in 2006, with costs estimated at around €100 million ($127 million) and plans to open in late 2009 or early 2010. Suzanne Pagé, then director of the Musée d'Art Moderne de la Ville de Paris, was named the foundation’s artistic director in charge of developing the museum's program. The city of Paris which owns the park granted a building permit in 2007. In 2011, an association for the safeguard of the Bois de Boulogne won a court battle, as the judge ruled the centre had been built too close to a tiny asphalt road deemed a public right of way. Opponents to the site had also complained that a new building would disrupt the verdant peace of the historic park. The city appealed the court decision. Renowned French architect Jean Nouvel backed Gehry and said of the objectors: "With their little tight-fitting suits, they want to put Paris in formalin. It's quite pathetic." Eventually a special law was passed by the Assemblée Nationale that the Fondation was in the national interest and “a major work of art for the whole world,” which allowed it to proceed. The museum opened to the public in October, at a reported cost of $143 million. Before the official opening, it provided the venue for Louis Vuitton’s women’s spring/summer 2015 fashion show. In May 2017, Marianne, a French news magazine, revealed the final cost of the building: €780 million, close to $900 million. en.wikipedia.org/wiki/Louis_Vuitton_Foundation
In collaboration with PKC Fowler - we forget who took which photos.
The building of the Louis Vuitton Foundation (previously Louis Vuitton Foundation for Creation, in French "Fondation Louis-Vuitton pour la création"), started in 2006, is an art museum and cultural center sponsored by the group LVMH and its subsidiaries. It is run as a legally separate, nonprofit entity as part of LVMH's promotion of art and culture.The $143 million museum in Paris was opened in October 2014. The building was designed by the architect Frank Gehry, and is adjacent to the Jardin d'Acclimatation in the Bois de Boulogne of the 16th arrondissement of Paris. In 2001, Bernard Arnault, the Chairman of LVMH, met Frank Gehry, and told him of plans for a new building for the Louis Vuitton Foundation for Creation on the edge of the Bois de Boulogne. The building project was first presented in 2006, with costs estimated at around €100 million ($127 million) and plans to open in late 2009 or early 2010. Suzanne Pagé, then director of the Musée d'Art Moderne de la Ville de Paris, was named the foundation’s artistic director in charge of developing the museum's program. The city of Paris which owns the park granted a building permit in 2007. In 2011, an association for the safeguard of the Bois de Boulogne won a court battle, as the judge ruled the centre had been built too close to a tiny asphalt road deemed a public right of way. Opponents to the site had also complained that a new building would disrupt the verdant peace of the historic park. The city appealed the court decision. Renowned French architect Jean Nouvel backed Gehry and said of the objectors: "With their little tight-fitting suits, they want to put Paris in formalin. It's quite pathetic." Eventually a special law was passed by the Assemblée Nationale that the Fondation was in the national interest and “a major work of art for the whole world,” which allowed it to proceed. The museum opened to the public in October, at a reported cost of $143 million. Before the official opening, it provided the venue for Louis Vuitton’s women’s spring/summer 2015 fashion show. In May 2017, Marianne, a French news magazine, revealed the final cost of the building: €780 million, close to $900 million. en.wikipedia.org/wiki/Louis_Vuitton_Foundation
Journées particulières LVMH - Champagne Krug - Reims
Here are some of the inox containers for reserve champagne wines used in the final blending to make a prestigious bottle champagne wine.
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Voilà l’œnothèque, sauf erreur de ma part. Dans ces cuves inox sont stockés des vins de champagne de différents vignobles, de différents cépages, de différentes années. Ils constituent les vins de réserve qui sont utilisés par le chef ce cave, que j'ai vu, lors de l'assemblage final. Une bouteille de champagne de la maison Krug est un savant d'une centaine de vins pour produire un excellent vin de champagne chaque année quelque soit la météo.