This summer, shoppers passing by 468 North Rodeo Drive in Beverly Hills, California, will have encountered a peculiar sight: instead of the luxury window displays that this prestigious shopping district is renowned for, all the windows of the elegant two-storey building have been seductively coated in sunset hues. The building is the temporary home of Louis Vuitton X, an immersive exhibition showcasing the Parisian brand’s creative exchanges and artistic collaborations during its 160-year history. Running until September 15th, 2019, after which it will go on a worldwide tour, the show brings together 180 items from the House’s archives, from early twentieth-century special-order trunks to limited edition bags by leading artists such as Yayoi Kusama, Damien Hirst and Jeff Koons, displayed in nine uniquely designed spaces, each celebrating a different aspect of the brand’s ongoing dialogue between the past and the future, heritage and modernity.

今年夏天，位于加州贝弗利山的468个北美牛仔竞技的购物者将遇到一个奇特的景象：而不是豪华的窗口显示这个著名的购物区是著名的，优雅的两层建筑的所有窗户都在日落的色调中被诱惑地涂覆。这座建筑是路易威登（LouisVuittonX）的临时家，这是一款沉浸式展览，展示了巴黎品牌在其160年历史上的创造性交流和艺术合作。在2019年9月15日之前，该展览将于2019年9月15日结束，届时，该展览将从20世纪早期的特殊订单TRUNS将180个项目汇集到一起，从20世纪早期的特殊订单trunks到有限的版本包，这些艺术家诸如yoikusama、damienhirst和jeffkoons，它们显示在九个独特设计的空间中，每个空间都庆祝了品牌过去与未来、遗产和现代性之间正在进行的对话的一个不同方面。

Photo by Brad Dickson, courtesy of Louis Vuitton.

照片由BradDickson提供LouisVuitton

Exhibition entrance: Alex Katz, Louis Vuitton le jeune (The Young Louis Vuitton), 2017. Photo by Brad Dickson, courtesy of Louis Vuitton.

展览入口处：Alex Katz，Louis Vuitton le jeune(年轻的路易威登)，2017年。照片由布拉德迪克森提供，路易威登。

Left: Alex Katz, Louis Vuitton le jeune (The Young Louis Vuitton), 2017. Right: Recreation of 1920s window-display designed by Gaston-Louis Vuitton. Photo by Brad Dickson, courtesy of Louis Vuitton.

左：Alex Katz，Louis Vuitton le jeune(年轻的路易威登)，2017年。右图：20世纪20年代的娱乐橱窗展示，由加斯顿-路易威登设计。照片由布拉德迪克森提供，路易威登。

The combination of the snow-white, neo-classical facades of the two-storey corner venue on Rodeo Drive and the Instagram-friendly, yellow-to-orange-to-pink ombré on the windows couldn’t be a more perfect introduction to the brand’s enduring talent in interweaving tradition and innovation. In fact, the success of the brand’s original store, opened by its eponymous founder in 1854, was due to the ingenious combination of traditional trunk-making techniques with innovative design solutions and materials that made the customised flat-topped trunks lightweight and airtight. The pioneering luggage locks that Louis Vuitton’s son Georges designed a few decades later, and the ground-breaking window displays by Louis’ grandson Gaston-Louis in the 1920s further attest to the House’s enduring culture of innovation and forward-looking sensibility. The brand’s unwavering commitment to both design excellence and innovation is showcased in one of the first spaces visitors encounter, “Origins: A Tradition of Modernity”, an immersive room of dusty rose checkerboard walls, floor and ceiling, some sections of which give way to an exotic seascape of turquoise waters. The section is introduced by one of Gaston-Louis Vuitton’ Art Deco-inspired window displays that has been recreated from archived drawings, featuring rare artefacts such as a picnic trunk in monogram canvas created for an Egyptian prince in 1924, and a unique racket case for a champion tennis player.

罗迪欧大道(Rodeo Drive)上两层楼高的街角场馆的雪白、新古典外墙与橱窗上的istagram友好、黄色到粉色的龙凤组合，再完美不过的介绍了该品牌在传统和创新方面的持久才华。事实上，由同名创始人在1854年开设的品牌原创店之所以成功，是因为传统的树干制造技术与创新的设计解决方案和材料巧妙地结合在一起，使得定制的平顶行李箱轻巧、密封。路易·威登的儿子乔治几十年后设计的开创性行李箱，以及路易的孙子加斯顿·路易斯在20世纪20年代的开创性橱窗，进一步证明了众议院的创新和前瞻性情感的持久文化。该品牌对卓越设计和创新的坚定承诺，体现在游客最先遇到的空间之一，“起源：现代传统”(Origins：An Language of现代性)，一间沉浸在室内的满是灰尘的玫瑰色棋盘墙、地板和天花板，其中一些部分被奇异的绿松石水域海景所取代。这部分是由加斯顿-路易·威登的艺术装饰启发的橱窗显示器介绍的，这些橱窗是根据存档的图纸重新设计的，其中有一些珍贵的工艺品，比如1924年为埃及王子设计的带字母画布的野餐箱，以及一位网球冠军运动员的独特球拍盒。

“Origins: A Tradition of Modernity”. Photo by Brad Dickson, courtesy of Louis Vuitton.

“起源：现代传统”。照片由BradDickson提供LouisVuitton

“Origins: A Tradition of Modernity”. Photo by Brad Dickson, courtesy of Louis Vuitton.

“起源：现代传统”。照片由BradDickson提供LouisVuitton

“Reinterpreting Icons”. Photo by Brad Dickson, courtesy of Louis Vuitton.

“重新解释图标”。照片是BradDickson，由LouisVuitton提供。

The brand’s high-profile designer collaborations are seductively showcased in the next space, an immersive room of mirrors titled “Reinterpreting Icons”. Featuring among other exhibits, a punching bag by Karl Lagerfeld, a photographer’s trunk by Cindy Sherman, a DJ’s record case by Helmut Lang and a bag-as-sculpture by Zaha Hadid, the installation showcases the reinvention of the House’s classic bags, silhouettes and motifs by some of the world’s greatest designers in celebration of the centenary of the iconic Monogram canvas in 1996, and again in 2006 and 2014. Louis Vuitton’s creative irreverence towards its heritage is further highlighted in the next space, “The Monogram as a Blank Canvas”, and in particular the brand’s two classic motifs – the 1888 Damier and the 1896 Monogram. Visitors are treated to a kaleidoscopic selection of Keepall bags, an iconic piece of luggage designed in 1930, reimagined over the last 20 years by the House’s designers – Marc Jacobs, Nicolas Ghesquière, Kim Jones and Virgil Abloh – with the help of artists such as Jeff Koons, who drew inspiration from Da Vinci’s Mona Lisa and Rubens’ The Tiger Hunt, and Yayoi Kusama who covered the bag in her signature polka dots.

该品牌高调的设计师合作在下一个空间，一个名为“重新诠释图标”的镜子的沉浸室，诱人地展示出来。展出的展品包括卡尔·拉格菲尔德(Karl Lagerfeld)的一个沙袋、辛迪·谢尔曼(Cindy Sherman)的摄影师后备箱、赫尔穆特·朗(Helmut Lang)的DJ唱片箱和扎哈·哈迪德(Zaha Hadid)的一个雕塑袋。这一装置展示了世界上一些最伟大的设计师在1996年、2006年和2014年再一次再现了这座房子的经典书包、剪影和图案。路易威登(Louis Vuitton)对其遗产的创造性不敬，在下一个空间“作为空白画布的蒙太格”(The Mongram As A Blank Canvas)中得到了进一步强调，特别是该品牌的两个经典主题-1888年的达米尔(Damier)和1896年的游客们会看到一款千变万化的Keepall包，这是1930年设计的一件标志性行李。过去20年里，众议院的设计师-马克·雅各布斯(Marc Jacobs)、尼古拉斯·盖斯基埃(Nicolas Gthquière)、金·琼斯(Kim Jones)和维吉尔·阿博(Virgil Abloh)-在杰夫·昆斯(Jeff Koons)等艺术家的帮助下，重新想象了过去20年来的情景。杰夫·昆斯(Jeff Koons)从达芬奇的“蒙娜丽莎”(Mona Lisa)和鲁本斯(Ru

“Reinterpreting Icons”. Photo by Brad Dickson, courtesy of Louis Vuitton.

“重新解释图标”。照片是BradDickson，由LouisVuitton提供。

“The Monogram as a Blank Canvas”. Photo by Brad Dickson, courtesy of Louis Vuitton.

“作为空白画布的会标”。照片由BradDickson提供LouisVuitton

*Magic Malle: The Past is Present* multi-screen installation. Photo by Brad Dickson, courtesy of Louis Vuitton.

魔术马勒：过去是现在“多屏幕安装”。照片由布拉德迪克森提供，路易威登。

“Art on Silk”. Photo by Brad Dickson, courtesy of Louis Vuitton.

“丝绸上的艺术”。照片由布拉德迪克森提供，路易威登。

Perhaps the most pronounced indication of the Louis Vuitton’s deep-rooted bond to artistic creation however is “Art on Silk”, a gallery-like space where instead of paintings, visitors have the opportunity to view a collection of framed silk scarfs. Launched in the late 1980s, the “Textile Series” is an ongoing project where renowned artists, designers and architects are invited to express themselves through the medium of fabric. Striking designs by Sol LeWitt, James Rosenquist, Andrée Putman, and Arata Isozaki have been followed more recently by bold, iconoclastic creations by street artists from around the world such as OSGEMEOS from Brazil, French-Tunisian eL Seed, and American Kenny Scharf. Of course the exhibition would not be complete without a tribute to the brand’s daring contribution to fashion that unfolds in two sections: “Art Meets Fashion” which presents a selection of clothes and accessories designed in collaboration with visionaries like Richard Prince, Jake and Dinos Chapman, and Daniel Buren, whereas “Lights, Camera, Action! Louis Vuitton on the Red Carpet” brings together 31 Nicolas Ghesquière-designed gowns and dresses worn by celebrities to the Oscars, the Met Gala, the SAG Awards and other major entertainment events.

不过，最明显的标志是，路易斯威登与艺术创作的深根联系是“丝绸艺术”，这是一个类似于空间的画廊，在这里，游客有机会观看一系列框架的丝巾。“纺织系列”于20世纪80年代末推出，是一个正在进行的项目，邀请著名的艺术家、设计师和建筑师通过织物媒介表达自己。SolLeWitt、JamesRosenquist、当然，如果没有对品牌对时尚的大胆贡献的贡献，展会完成，展会有两个部分：“艺术与时尚”，展示了一系列服装和配件，这些服装和配件是由理查德王子、杰克和迪诺查普曼和丹尼尔伯伦合作设计的，而“灯光，相机，动作！《红地毯上的路易斯.威登》将31件NicolasGhesquiere设计的礼服和服装汇聚在了奥斯卡、MetGala、SAG大奖和其他主要娱乐活动上。

Photo by Brad Dickson, courtesy of Louis Vuitton.

照片由BradDickson提供LouisVuitton

“Art Meets Fashion”. Photo by Brad Dickson, courtesy of Louis Vuitton.

“艺术相遇时尚”。照片由布拉德迪克森提供，路易威登。

“Art Meets Fashion”. Photo by Brad Dickson, courtesy of Louis Vuitton.

“艺术相遇时尚”。照片由布拉德迪克森提供，路易威登。

“Lights, Camera, Action! Louis Vuitton on the Red Carpet”. Photo by Brad Dickson, courtesy of Louis Vuitton.

“灯光，摄像机，行动！在红地毯上的路易威登地毯”。照片是BradDickson，由LouisVuitton提供。

After a multi-screen installation that guides visitors through the history of Louis Vuitton, the exhibition concludes with “Artycapucines: Six Visions of a Contemporary Classic” , which presents the latest addition to Louis Vuitton’s 160-year history of creative collaborations. Named after the street in Paris where Louis Vuitton opened his first store, the Capucines bag has become an instant classic since it was introduced in 2013. Artycapucines is a limited edition series featuring six unique designs by six leading contemporary artists, namely Sam Falls, Urs Fischer, Nicholas Hlobo, Alex Israel, Tschabalala Self and Jonas Wood. Displayed as part of a rainbow-coloured installation, the six bags exemplify the extraordinary synergies that can be achieved when visionary artists join forces with skilled artisans such as those that work at Louis Vuitton’s ateliers, and further attest to the brand’s enduring love story with creativity.

经过一个多屏幕装置，引导参观者了解路易威登的历史，展览以“Artycapucines：一个当代经典的六种愿景”结束，这是路易威登160年创造性合作历史的最新补充。以路易威登(LouisVuitton)第一家门店开业的巴黎街道命名，自2013年推出以来，这款卡普辛斯(Capucines)包已成为一种即时经典。Artycapucines是一个限量版系列，有六位当代著名艺术家，即萨姆·福尔斯、乌尔斯·费舍尔、尼古拉斯·赫洛、亚历克斯·以色列、查巴拉·赛尔夫和乔纳斯·伍德的六种独特设计。作为彩虹色装置的一部分，这六个袋子展示了异乎寻常的协同效应，当有远见的艺术家与技术精湛的工匠如在路易威登工作室工作的工匠合作时，并进一步证明了该品牌富有创造力的持久爱情故事。

Photo by Brad Dickson, courtesy of Louis Vuitton.

照片由BradDickson提供LouisVuitton

Photo by Brad Dickson, courtesy of Louis Vuitton.

照片由BradDickson提供LouisVuitton

“Artycapucines: Six Visions of a Contemporary Classic”. Photo by Brad Dickson, courtesy of Louis Vuitton.

“艺术：当代经典的六种视角”。照片由布拉德迪克森提供，路易威登。

“Artycapucines: Six Visions of a Contemporary Classic”. Photo by Brad Dickson, courtesy of Louis Vuitton.

“艺术：当代经典的六种视角”。照片由布拉德迪克森提供，路易威登。

The exhibition is complemented by a pop-up shop that takes over the building’s upper floor: ushered upstairs via a grand, candy-pink staircase, visitors find themselves in a sunset-hued shopping utopia complete with dusty pink palm trees under an imposing yellow dome. There they can browse an eclectic selection of women’s ready-to-wear, leather goods, accessories, fragrances and books, curated by Sarah Andelman, founder of Parisian concept store Colette and creative agency Just An Idea, as well as items from “Objets Nomades”, a collection of experimental furniture that Louis Vuitton established in 2012 in order to harness the creativity of the worlds most-renowned designers. In contrast to your typical museum shop selling copies and memorabilia, the shop at Louis Vuitton X offers visitors the chance to take home authentic artefacts like the exhibits they admired downstairs; the brand’s dedication to creativity after all is not an end in itself but a means to make our life more beautiful.

这次展览由一家弹出式商店补充，它接管了这栋大楼的上层建筑：通过一条宏伟的、糖果粉色的楼梯把游客带到楼上，游客们发现自己置身于一个日落色的购物乌托邦，在一个壮丽的黄色圆顶下，满是粉红的棕榈树。在那里，他们可以浏览由巴黎概念商店Colette创始人萨拉·安德曼(Sarah Andelman)和创意代理公司共同策划的各种女性现成服装、皮具、配饰、香水和书籍，以及“欧比尔斯诺马德斯”(Objetesnoomade)中的一些物品，后者是路易威登(Louis Vuitton)2012年创建的一批实验家具，目的是利用世界上最知名设计师的创造力。与出售复制品和纪念品的博物馆商店不同的是，路易威登X(Louis Vuitton X)的商店为游客提供了带回家的机会，比如他们在楼下欣赏的展品；这个品牌对创意的奉献，其本身并不是目的，而是让我们的生活更加美好的一种手段。

Photo by Brad Dickson, courtesy of Louis Vuitton.

照片由BradDickson提供LouisVuitton

Pop-up store curated by Sarah Andelman. Photo by Brad Dickson, courtesy of Louis Vuitton.

莎拉·安德曼策划的弹出式商店。照片由布拉德迪克森提供，路易威登。

Pop-up store curated by Sarah Andelman. Photo by Brad Dickson, courtesy of Louis Vuitton.

莎拉·安德曼策划的弹出式商店。照片由布拉德迪克森提供，路易威登。

Photo by Brad Dickson, courtesy of Louis Vuitton.

照片由BradDickson提供LouisVuitton

keywords:Fashion Exhibition 

关键词：时装展览