6 posts tagged "Stephen Sprouse"
With rumors swirling about whether Marc Jacobs will renew his contract in 2014, Louis Vuitton seems to be on the tip of everyone’s tongue. And now, we have one more—pretty gargantuan—reason to talk about the house. Today, Vuitton revealed that its new window installations will not consist of the brightly hued works of an eccentric or iconic artist (cue Stephen Sprouse and Yayoi Kusama). Instead, the brand has opted for dinosaurs. Seven stores worldwide—including the boutiques on Paris’ Champs Élysées, London’s New Bond Street, and New York’s Fifth Avenue—will get the Jurassic treatment, hosting golden reproductions of prehistoric skeletons in their facades. Velociraptors, Dimetrodons, Stegosauruses, Tyrannosaurus Rexes, and Triceratopses are just some of the species that will inhabit the displays, which were apparently inspired by a trip to the Natural History Museum in Paris’ Les Jardins des Plantes. On view from tomorrow, the beasts seem fairly friendly—mannequins wearing Vuitton’s Pre-Fall ’13 wares are perched peacefully atop the creatures’ backs.
This year, Marc Jacobs celebrates 15 years as the creative director of Louis Vuitton. And today in Paris, Louis Vuitton—Marc Jacobs, a comprehensive exhibition that explores two innovators and their roles in Vuitton’s 143-year history, opens to the public at the Louvre’s Musée des Arts Décoratifs. (If you can’t make it to Paris before the September 16 closing date, Rizzoli’s accompanying tome, with historical and critical essays by curator Pamela Golbin and Jo-Ann Furniss, a look back through the collections organized by Jacobs and Katie Grand, and more, arrives in April; it can be preordered here.)
“When we were talking through the project, what came out was we really wanted to portray Louis almost like a black and white picture, whereas Marc is like a Technicolor film,” said curator Pamela Golbin, a celebrated author, fashion historian, and the Chief Curator of Fashion and Textiles at Les Arts Décoratifs. The exhibition is divided between a historical view of founder Louis Vuitton himself and a contemporary view of Jacobs’ creation of the house’s ready-to-wear, which he founded in 1997 and has stewarded since. Here, Style.com talks to Golbin about creating the exhibition and the history of the influential house.
What does this exhibition say about the development of Marc’s career at Vuitton?
First of all, what’s so interesting about this exhibition is that it follows two men, so it’s about Louis and he has a whole floor, and then also a second floor is dedicated to Marc. When it came to Marc, it was important for him to be very involved in the project. I did not want this to be a retrospective; it’s more a celebration of what Marc has done in the last 15 years at Vuitton. And it’s incredible that it has already been 15 years. The exhibition is more about the vision that he created for the brand than anything else. And that vision is quite large. It’s not just about designing clothes. Obviously accessories are important, but so is advertising, his artistic collaborations, and just his overall cultural vision. So Marc’s floor begins with Marc’s World. We essentially opened up his head and we did a self-portrait of Marc through all of the cultural influences that he’s had and that he uses for his design process. So it’s like a giant Tumblr page with still images and video images of everything and anything that has influenced him over the years. It’s not at all chronological. It’s thematic. And he even came up with the titles for each of the cases.
Why did you want to steer away from doing a retrospective?
The idea was by no means to say, “OK, in 1997 he did this and he did that.” His story is not chronological. His story is really about an energy and an attitude. He turned Louis Vuitton from a brand into a house. And so what we tried to get across were the steps that he took to get there and important moments. And more importantly, just really his fashion vision for Louis Vuitton that, when he arrived, was already 143 years old. He really created a fashion entity within a luxury brand. Continue Reading “Where Marc Jacobs And Louis Vuitton Meet” »
At last night’s amfAR gala in Cannes, one partygoer stood out for us among the rest: stylist and W contributor Giovanna Battaglia, who showed up on the arm of boyfriend Vladimir Restoin-Roitfeld in a jaw-dropping, barely-there gown we didn’t recognize. (Internet speculation briefly misidentified it as vintage Versace.)
On a hunch that it was, in fact, vintage, we asked vintage guru Cameron Silver of L.A.’s Decades to weigh in. Silver spotted it straightaway as a Stephen Sprouse. And this afternoon, Battaglia herself wrote in to confirm. The piece, Battaglia says, is a 1992 Sprouse from Rare Vintage, Juliana Cairone’s New York shop. (Longtime readers may remember Cairone from the postcard she sent us from her trip to Hong Kong.) Battaglia paired the gown with Sergio Rossi shoes and clutch and an Emilio Pucci jacket, but the dress itself is clearly the centerpiece. “I was so happy when I found it!” she says. “It’s a true art piece for me.”
For Louis Vuitton’s massive New Bond Street London flagship, creative director Marc Jacobs invited Love‘s Katie Grand to curate a series of archival looks from Jacobs’ tenure at the house, and Jacobs and Grand were both on hand to take Derek Blasberg through the designs for our exclusive video. The pieces are pulled from throughout Jacobs’ 12-year career at the helm of LV, and while there are some favorites—Grand says she’d save the mannequin above in case of catastrophe; “she shows how much Sprouse has been important to the whole evolution of the brand”—Jacobs insists he’s focused on the present, not on posterity. “I think we’re just thinking about the moment,” he explains. “This is for now, not forever.” Visit our videos page for more.
When he died of lung cancer not quite five years ago, Stephen Sprouse was in the midst of one of his many comebacks. Widely credited as the designer who made street style soigné, Sprouse had spent much of the nineties wandering in and out of the fashion fold: Several times, he’d relaunched his eponymous label, only to shutter each business and return to making art. But the new millennium found Sprouse revolutionizing the fashion industry all over again. His collaboration with Louis Vuitton was a phenomenon. At Marc Jacobs’ behest, Sprouse scrawled graffiti all over the brand’s iconic monogram bags, and years later, even Canal Street knockoffs proved hard to come by. Then Sprouse debuted AmericaLand, his collection for Target. The first collaboration between a luxury designer and a discount chain, AmericaLand established a fast-fashion template still being followed today. Taken together, Sprouse’s work for Target and his work with Louis Vuitton capture his disrespect for the traditional standoff between high and low, and after seeding their fusion years earlier, the man had met his moment, yet again. And yet again, Sprouse’s moment was followed by a fall. But the time has come for another comeback. Last Friday, Deitch Projects in Soho opened the show Stephen Sprouse: Rock on Mars, an overview of Sprouse’s work as an artist. That same day, a limited-edition Stephen Sprouse for Louis Vuitton collection launched at Louis Vuitton stores worldwide. And tomorrow night, Sprouse muses Debbie Harry and Teri Toye host a celebration of the new book Stephen Sprouse, published by Rizzoli and written and compiled by MAO PR impresarios Roger and Mauricio Padilha. Harry and Toye assisted the Padilhas with the book. Jacobs chipped in, too, as did Sprouse’s buddy Tama Janowitz and his former neighbor, Style.com’s Candy Pratts Price. But the project’s guardian angel was Sprouse’s mother, Joanne Sprouse, who proposed the book to the Padilhas and allowed the brothers exclusive and unfettered access to her son’s archives. Here, Roger and Mauricio Padilha talk to Style.com about their comprehensive and eye-popping new book—and why you should avoid your idols.
You guys are obviously Sprouse acolytes. You have an enviable collection of his designs and published a tribute to him in Mao Mag after his death that led to the making of this book. How did you become fans?
Roger Padilha: I can be really exact about that, actually. In 1984, Stephen put on a runway show at the club the Ritz, in the East Village. It was such a huge deal that a clip aired on the nightly news. I was 12 at the time and Mauricio was 15, but we were already huge fans of Debbie Harry and Andy Warhol and Keith Haring, and we were already into fashion. Stephen’s show put all that together. We were totally fixated. And because we were bad kids, as well as precocious, we’d take our parents’ credit cards and jump on the train from Long Island and shop for his stuff at Bloomingdale’s and Charivari.