Un espacio contemporáneo dedicado en exclusiva a la marca de lujo española, abre sus puertas en Barcelona el 11 de abril.
Situado en el corazón de Barcelona, junto a La Pedrera, Galería Loewe supone un antes y un después en la historia de la firma de lujo española. Con una superficie de 580 metros cuadrados distribuidos en cinco niveles, y creado en colaboración con la productora de diseño interior audiovisual Boolab, en este espacio se exponen las creaciones y las pieles más emblemáticas de Loewe y se cuenta la historia de su evolución.
Cada nivel se centra en un aspecto diferente de los 166 años de excelencia artesana de Loewe. Así, la planta inferior está dedicada a la seda. Una exposición de paneles de seda acompañada de una instalación de pañuelos en movimiento creada por el artista Daniel Wurtzel
En la entreplanta superior, donde se expondrá una selección de las piezas de archivo de Loewe.El nivel situado a pié de calle está dedicado en exclusiva al bolso Amazona, símbolo por antonomasia de la casa y su mayor éxito de ventas desde que se presentó en la década de 1970.
En el siguiente nivel, la piel, el material a que debe su fama Loewe, es la protagonista. El nivel superior está conformado por un espacio que alojará exposiciones temporales.También servirá como punto de consulta, con mesas interactivas que invitan a conocer más sobre la historia de Loewe. Todo un lujo en la cuidad Condal.
Produced by Sebastian Troncoso
Directed by Daniel Cubero
Stylist: Gerard Angulo
Set design:Susana de la Cueva
Models:
Jakob Wiechmann, Nikola Jovanovik, Alexander Johansson at Traffic Barcelona
Jaco Vd Hoven, Rafa Bodgar, Jacob Coupe, Corentine Renault at UnoBcn
Alexander Beck, O Shea, Sebastian Sauve, Baptiste Radufe at VIEWMEN
Paolo Anchesi, Joan Pedrola at Sight Management, Milo Spijkers, River Viiperi, and Charlie Westerberg at Elite
Tiger Issue Nº4, Featuring Models from the Agency View Men:
Alexander Beck, Sebastian Sauve and O´Shea Robertson
The exhibition Autobiographies at the Espace Culturel Louis Vuitton aims to focus propositions from artists of diverse sensibilities, cultures and generations around the common denominator of autobiography. Seemingly destined for a bleak future in the 1960s, the autobiographical genre defied expectations by re-emerging in the second half of the 1970s (the publication of Philippe Lejeune’s Autobiographical Pact constituting among others a symbolic landmark), to become an established theme of contemporary creation from the 1980s onwards.
The artists selected for this exhibition have all taken an interest, be it episodic or enduring, in the autobiographical genre, situating their own stories, origins and genealogies either at the centre or at the margin of their respective approaches and trajectories. The principle defining the project is to demonstrate that – far from being limited to a family of artists – the genre has been capable of inspiring aesthetics as diametrically opposed as those of On Kawara and Mélanie Delattre-Vogt, Ernesto Sartori or Ryan Gander. And yet, however different the artists, we find the same virtually irrepressible necessity to undertake a sort of journey through their own life, and this crossing or travelling back in time often carries a palliative dimension.
While drawing is a constant of the chosen propositions, some artists, true to a primarily literary genre (personified here by Claude Simon), also have recourse to writing (David B., Frédéric Pajak, Franz Erhard Walther), which they combine with their images in a way that may be harmonious or disjunctive (Yvan Salomone). Others utilize evidence that is photographic (Sol LeWitt) or cinematographic (Jonas Mekas, Noëlle Pujol, Fiona Tan). Whatever their perspective, whatever the distance or closeness inherent in their work, all strive to establish the basis of an exchange, since the exposure of their own stories or of instants of intimacy has a sense only if these are open to the virtues and possibilities of sharing.
Artists: David B., Mélanie Delattre-Vogt, Ryan Gander, On Kawara, Sol LeWitt, Jonas Mekas, Frédéric Pajak, Noëlle Pujol, Yvan Salomone, Ernesto Sartori, Claude Simon, Fiona Tan, Franz Erhard Walther.
Exhibition curator: Erik Verhagen
Scenographer: Robert Stadler
With images by Mario Sorrenti, Robbie Fimmano and Bob Recine, and accompanying text by René Ricard, this spring the editors Freedman/Damiani present the latest book Bob Recine: Alchemy of Beauty, a visual celebration of a vanguards hairstyle.
Bob Recine born in New York during the 60´s. Full of punk, music, tattoos and motorbikes painted with spray paint, contemporary art and urban culture influenced heavily influenced his creativity. Throughout his career he eventually ended up working with art in plastic as well as fashion.
From his work of the window displays for Henri Bendel or for the well known Jean Louis David, until his more recent projects of headpieces and hairstyles for the diva Lady Gaga. Innovation has always been the driving force behind all of his work. Adventurer, investigator and risk taker, in his compositions there always exists an air of fashion and vanguard art, which has led him to rise to the top and work alongside the crème de la crème in the photographic industry, like that of Irving Penn, Helmut Newton, Mario Testino or Annie Leibovitz, as well as that of the major press, campaigns by the brands of Jil Sander, Kenzo or Chloé as well as the Hollywood stars like Uman Thurman, Gwyneth Paltrow, Angelina Jolie, Nicole Kidman or Tilda Swinton.
Alchemy of Beauty is an album of explosive imagination, made up of drawings, collages, painting, photographs and images, some published some unedited, its impacting style: hair styles which defy the law of gravity. Seasonal art, monumental and futuristic, with the form taking on a touch of punk, part theatrical, as if Rapunzel could of dreamed in the future and Recine experimented with her other side of beauty.
For more information click here
by Bárbara G. F. Muriel
Fashion is everywhere and fashion does not die or end with the fabrics, dresses or suits and a proof of that is how the delicacy of the British house Fortnum & Mason now joins the talented tailor of punk era, Vivienne Westwood, to dress the Easter.
A Superb collection of milk chocolate eggs filled with Rose & Violet creams, selected Fortnum’s handmade milk chocolates, its most luxurious truffles -each infused with Marc de Champagne- or as both with lots of popping candy bunnies and where, in addition to have room enough for the little ones with eggs filled with fairies or dinosaurs, highlights the egg made with the bittersweet Tercentenary chocolate – a blend of Mexican and Tanzanian cocoa beans.
It is a delicatessen Easter closed by the adjectives Ultimate and Colossal in order to describe the walk that the House established in Piccadilly now gives us through the five chocolate eggs to know a range of chocolate intensities beginning with white and milk chocolate and ending with three dark blends made with 50%, 72% and 100% cocoa respectively; or the five different flavours of chocolate: Molé Spice, Orange, Quebradon Coffee, Rose & Violet and English Mitcham Mint while all is dressed and presented with the boxes decorated by Vianne Westwood that in fine Chantilly reinvents the ornamental taste of the Fortnum&Mason without forgetting the ubiquitous orb and satellite as symbol of privilegentsia and power to make you feel the Queen and King of this Easter who has to decide first what to do with the eggs because may be they are almost too lovely to eat. To eat or not to eat… that is the question.
Emilio M. Pardo
What would a time capsule look like if was designed by Louis Vuitton? Without a doubt it does not solely relate to a capsule but more of magnificent chest for travelling, full of history, talent and mayor contributions in the fashion industry.
Opening this time capsule is a privilege for those who have visited the exhibition Louis Vuitton-Marc Jacobs held at the Museum Les Arts Décoratifs in Paris which is on display until the 16th September.
With a more analytic than nostalgic tone, the display shows the creative talent over two long centuries, the XIX and the XXI. Two great personalities, Louis Vuitton and Marc Jacobs, the current artistic director of the Company, from the earliest times to the present of Vuitton, highlighting their contributions, experiences in the economic and industrial trends.
The parallelism of these two lives in the same company is the basis for this exhibition. Distributed on two floors, with each floor dedicated to one of those universes of Vuitton with its iconic images and emblematic pieces.
Style, technical advancements, cultural and artistic influences, all the details thought out for each memorable collection, which offers a sound perspective of the evolution of the fashion industry through the centuries by the same designer, and offers both an evocative celebration in one of the biggest cultural showcases of the time: that of the museum.
For more information click here.
by Bárbara G. F. Muriel
Carrera y Carrera celebrated Mother’s Day with one of its jewelry collections that transmits most light, energy, and joy. The sun motif in this collection
makes for one of the best gifts a mother could receive on this special day.
Not one of us… that’s what the chairman of the Lawn Tennis Association sputter right under the nose of the Fred Perry’s father, the same young Fred Perry winning three consecutive tournaments Wimbledom and other Grand Slam tournaments.
Not one of us… simply because tennis belonged to the upper classes and Fred Perry was not part of that high society ruling and directing the courts of the time, simply because he belonged to the so-called working class.
But not one of us -or rather not one of them- because he was the only one capable of winning a world that had not been given to him by birth and also able to leave it -without abandoning it altogether- to start a new career that now, more than 100 years after his birth and nearly 17 years after his death, is still alive and celebrating its 60th anniversary under the laurels of his victories as a logo and that no one uf us as the the slogan or motto that summarizes the relationship of the brand with the alternative underground, mods and urban subculture movements which, with its special fabric, have knitted their flags.
And in that same vein, in that not one of seems to move the lomographic camera brand La Sardina which since its humble sardine can shape invite us to see the world through its awesome 22mm wide-angle plastic lens and capture it into 35mm; claiming the charm of surprise and improvisation from analog in this digital age that we seem condemned to pile up tons of pictures on hard drives and memory cards forgetting the pleasure to shoot, wait and get in return a precious piece of paper with the life embodied within.
Not one of us and so, because La Sardina is not one of them, it joins Fred Perry to celebrate its products, specialty and anniversary with a limited edition of a camera that, without losing the shape, recreates in a patinaed bronze case the symbols and history of the brand.
by Emilio M. Pardo
I wanted to let some time pass, let the ideas rest, to calm everyone down and today, nearly a week after Spain was thrown into confusion as if it was an affair of the State, what I want to talk about is LOEWE and the video made to launch its “ORO” products. (click here to see the video)
Trending topic for more than a day, stark criticism, insults and words like “embarrassed”, “national disgrace”, “spoiled brats” and omens of the end of the maison as if a premonition and the end of the days they were showed, one again, what to me are the leading exponents of Spanish character: envy and hatred of its own.
Why the Spanish accept as divine command, celebrate and do not stop talking about Lanvin making its models dance to the rhythm of Pitbull as the summum of modernity or postmodernity itself?, why if I dare say that none, or almost nobody, knew Lanvin up its campaign with H&M?; Why the Spanish go crazy with the video of the Balenciaga resort collection and they praise its creative director speaking about him as if its cousin himself was when -and despite being himself Spanish- almost no one knows who was Balenciaga, what he did or what he meant? , why? … Perhaps for the same reasons that they criticize, hate and slate their catwalk and designers while they sing the praises of foreigners and their collections simply by becoming outsiders.
12 young people, as 12 were the apostles and as St. Peter, St. Jacques or St. Thomas were now they are persecuted and executed by the mere fact of appearing in a video saying things that apparently are so strange and offensive for the Spaniards as: ” It´s no fun to grow up” “The coolest thing about love is… to be in love is very cool, very cool”, “The secret for a good kiss is… even though is sounds cheesy, is to be in love” or just “Every kiss I give is the first one”…
A dozen juveniles accused and executed to be childrens of, nephews of or just (fucking) modern… but no one has thought that at no time we are told about their names or affiliation in the video as well as the video -like all – is (brilliantly) cut and constructed (by Luis Venegas)- by bits of what have had to be hours and hours of recording and, above all, by interviews that we only get little chips of the responses offered by them -the 12 apostles of postmodernity- but not the questions raised to them.
LOEWE is Dead, almost as if the house founded in 1846 had decided to commit suicide or request euthanasia in a Spain that, rather than sick of deficit and crisis continues mortally wounded… a death caused by the envy of not being “me, myself and I” the stars of that video and hating everything that has the name Spain printed.
Maybe, just maybe, if instead of LOEWE we were talking about Goyard (well, no, Goyard no… to the extent that as yet it has not collaborated with H&M I do not think that it is known by these Spanish)… let me say Louis Vuitton (yes, the repeated monogram handbags that are also to be the owners of Loewe), and instead of Luis Venegas we were talking about its art director maybe, just maybe, criticism had been turned into praise.
LOEWE is dead… but what they do not realise is that it is Spain itself which is dead at the hands of the Spanish themselves.
By Emilio M Pardo
