Perceptions shift… In the Louvre’s Cour Carrée another emblematic institution rises for a finite, illusory moment. In this museal collaboration, Louis Vuitton converges on the most fascinating of territories: culture. Culture: what we see, what we accept, what we learn. What’s left to us….
Beaubourg is the symbol of a certain culture of fashion, when it takes a stand and expresses itself with a passion. Nicolas Ghesquière gained stature in an atmosphere of revival. And the Centre Pompidou, a fabulous example of generational architecture, represents the most captivating dialogue between a surprising construction and a historic Parisian neighbourhood. Paying homage to the clash of old and now is the very principle of a collection in which debate is deliberately lively, like a reverberation of the museum’s inauguration, in 1977.
The Fall-Winter 2019 collection speaks to a vision of fashion, when one is sure of one’s potential and knows with conviction that this is the path to follow. When everything one discovers in the enthusiasm of youth becomes the foundation of stylistic certainty. This collection is an invitation to cultural references. “Refinery” sweaters and “Carcass” dresses. The Monogram and the Damier oscillate on accessories in equal time.
A graphic juxtaposition that surfaces on the new “Monogram LV Pop” and the beginnings of the “The LV Arch”, a bag as classic as it is knowledgeable. A nod to the monumental clock that counted down four hundred million seconds to the third millennium. The elusive state of being known as the Parisian.
Paris: a centrifuge. Inside/outside silhouettes, the very legitimacy of a starry-eyed young man in Paris, what he’s made of and what he will become. What there is to be seen, sincerely. Just as the the Centre Pompidou was created, with all the functional elements on the outside, the better to dress the inside. The incredible feat of the Centre Pompidou that could also apply to fashion is the ID Code of fluidity, an architect’s glossary that’s both formal and fanciful. Green is water, blue is air, yellow is electricity. Red is human. At Beaubourg, as in fashion, everything’s a matter of flow. Power is identified through the gesture.
Nicolas Ghesquière: “The Centre Pompidou, Beaubourg, Les Halles, Place des Innocents: A fascinating incubator of a neighborhood. An incredible melange, converging in the epicenter. The cliques, the styles, the life… I love that imprvession of a sartorial melting pot. Today, I’ve transposed it at Louis Vuitton: a House of multiple expressions..”
“The Centre Pompidou is a prototype. It’s an artisanal piece. People may laugh, but it’s all handmade! Industrial production starts with a craftsman’s gesture. The great advantage you have when you create an industrial product is that, with the artisanal piece you make, you have the time and the opportunity to make it and remake it time and again. Which is to say that the circularity of the creative process, which means conceiving of something, producing it, re-conceiving it, re-producing it and starting over again, the circularity of the culture of doing, the material, of action… This mix feeds the culture of conceptions. Which has always been the human spirit of creative work.”
Renzo Piano, architect of the Centre Pompidou.
“It took shape, on paper, with places dedicated to all, of all ages and origins, a cross between the British Museum and Times Square. Between culture and the everyday. In a way, that’s what a space for living is. We were very worried at the beginning because I was afraid the building would be too cold and we wanted to create a cultural machine that would be, by turns, culture and machine, something that could evolve. We had five floors, each the size of two football pitches. So the idea was to adapt to the evolution of everyday life.”
Richard Rogers, architect of the Centre Pompidou.
Louis Vuitton thanks Richard Rogers and Renzo Piano, architects of the Centre Pompidou, as well as Serge Lasvignes, President of the Centre Pompidou.
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