4 posts tagged "Frank Gehry"
Bernard Arnault has finally announced October 27 as the official opening day for the Foundation Louis Vuitton museum in Paris. The 126,000-square-foot building, designed by architect Frank Gehry, will house the corporate art collection of LVMH, as well as specially commissioned works and temporary exhibitions. Fittingly, the debut show, on display through January, focuses on Gehry’s work for the foundation.
“We have a pretty eclectic mix, but it is true that I am quite involved in the choice,” Arnault told WWD of the art in the new museum. “This is a small payback to the public, and to our employees.” Estimated to cost more than $136 million at current exchange, this building is Arnault’s biggest architectural undertaking since 1999′s christening of the twenty-three-story LVMH Tower in New York.
Gehry’s other LVMH creation, a limited-edition monogram handbag for Vuitton, will also be unveiled this October as part of the label’s “The Icon and the Iconclasts” project, along with creations by Karl Lagerfeld, Cindy Sherman, and more.
An LV punching bag by Karl Lagerfeld? Why not! Today, WWD reports that Nicolas Ghesquière and Delphine Arnault are launching a new project, The Icon and the Iconoclasts, in which six heavy-hitting creatives will put their own spin on monogrammed bags and luggage. The designers, artists, and architects include Lagerfeld (who is, in fact, producing a punching bag), Cindy Sherman, Rei Kawakubo, Christian Louboutin, Frank Gehry, and Marc Newson.
The project instantly calls to mind the collaborations Marc Jacobs championed during his tenure at Vuitton: Stephen Sprouse, Takashi Murakami, Richard Prince, and Yayoi Kusama all interpreted the LV monogram in a unique way. But Ghesquière’s take brings Vuitton’s team-ups to a whole new level.
Images won’t be revealed until later this fall and prices will range between $2,725 and $5,450. That’s a pretty penny, but considering the bags will be available only for a few months, we’re thinking they qualify as the ultimate splurge.
In May of 2012, the L.A. Philharmonic launched its Mozart/Da Ponte project—a three-year-long commitment to staging the pair’s trio of eighteenth-century operatic masterpieces: Don Giovanni, The Marriage of Figaro, and Cosi Fan Tutte. Last year, the institution partnered with California natives Kate and Laura Mulleavy of Rodarte and architect Frank Gehry to create the Don Giovanni costumes and set, respectively. This year, for its The Marriage of Figaro production, the L.A. Phil sourced talents from across the pond, tapping Azzedine Alaïa for costumes and Pritzker Prize-winning architect Jean Nouvel for the set. Under the helm of conductor Gustavo Dudamel and director Christopher Alden, Alaïa (who’s also preparing for a solo exhibition of his work at Paris’ Musée Galliera this fall) has created rich wares for the opera’s female and male cast, marking the first time in our memory that he’s tried his hand at menswear. The designer stuck to his signature knit silhouettes for the onstage looks, infusing them with a hint of metallic and bead detailing to catch the spotlight. Alaïa’s original sketches for the leads—Count and Countess Almaviva, played by Christopher Maltman and Dorothea Röschmann—debut exclusively above.
The Marriage of Figaro: May 17, 19, 23, 25, Walt Disney Concert Hall, 111 S. Grand Avenue, Los Angeles, CA 90012. For tickets, visit www.laphil.com.
Their past projects include the Fra Angelico Collection at LACMA and the solo exhibition States of Matter at MOCA, but Pasadena natives Kate and Laura Mulleavy’s latest artistic endeavor is their largest undertaking yet: designing the costumes for the L.A. Philharmonic’s production of Mozart’s Don Giovanni, led by Gustavo Dudamel. For a short, four-performance run, the show presented itself as an opportunity for Rodarte to firmly secure itself as part of the city’s art establishment—not to mention to work with the legendary Frank Gehry.
Gehry’s set design transformed the Walt Disney Concert Hall—also of his design—into an abstract interpretation of Don Giovanni’s mind. A meeting of the minds is the right way to describe the sisters’ collaboration with Gehry, too. “We would have these meetings with Frank and would talk about things that had nothing to do with opera,” Laura Mulleavy told Style.com, citing the need to “learn each other’s language.” “But in that sense it was indirectly working on the project, because we needed to understand the way he was going to come up with the idea and eventually design a set, and then we would design the costumes to go with it.” Rodarte’s creations included two beaded gowns for each female lead, using silk, sequins, and intricate hand embroidery in a largely gray and white palette that introduced strategic color in the second act. For the men, they used denim (a first for the pair) to create a striking combination of straitjacket and armor, dressing each in a chest plate with a hand-painted marble finish—representing the chess pieces in Don Giovanni’s world.
In both lead time and inspiration, the Mulleavys’ operatic costume debut was a departure from their normal design process. “You are working with material that is so classic that everyone knows it, so you’re starting from a ground point that’s already decided for you,” Laura said of the source material for the year-long effort. But though they’re familiar with defining characters in their collections, these costume designs were part of an evolving collaboration that entailed multiple moving parts. “When you’re designing for characters, you really have to become a costume designer. You’re not the sole decider and you’re not a fashion designer in that situation.”
Don Giovanni concludes its run at the Walt Disney Concert Hall, L.A., with performances May 24 and 26.