Louis Vuitton: Jennifer Connelly star of the new campaign
“Series 2” is the campaign with which Louis Vuitton Announces Jennifer Connelly is the new muse of the Maison. “Series 2” is an echo of “Series 1”, the triptych of images in which three photographers, Annie Leibovitz, Bruce Weber and Jurgen Teller, were called to work. In the video, signed by Bruce Weber, Jennifer Connelly, is captured in a graphic play of light and shadow in which the actress merges with lines and curves, and becomes an element of visual composition
Yayoi Kusama was born in Matsumoto City, Japan in 1929. She studied Nihonga painting, a rigorous formal style developed during the Meiji period (1868–1912) to deflect the wholesale influence of Western art through the revitalization of the traditions of Japanese painting and their synthesis with aspects of Western art. Attracted by the experimental promise of the postwar international art scene, Kusama moved to New York City in 1958.
As a young struggling artist in New York, Kusama produced her first astonishing Net paintings in 1959— vast canvases measuring up to 33 feet in width, entirely covered in rhythmic undulations of small, thickly painted loops. The inherent philosophical paradox of these paintings—that “infinity” could be quantified and constrained within the arbitrary structure of a readymade canvas—combined with the more subjective and obsessional implications of their process, distinguish these works from Minimalist abstraction, which would dominate the New York art scene several years later. The mesmerizing, transcendent space of the Nets was further reinforced by Kusama’s own insistent psychosomatic associations to her paintings. She went on to develop other striking bodies of work, including the phallic soft-sculptures Accumulation, Sex Obsession, and Compulsion Furniture, which she later incorporated into full-scale sensorial environments. From 1967 she staged provocative happenings in various locations, from the New York Stock Exchange to Central Park to the Museum of Modern Art. Painting the participants’ bodies with polka dots or dressing them in her custom-made fashion designs, she created risqué situational performances that merged her inner artistic world with external realities.
In the early 1970s Kusama returned to Japan, where she began writing shockingly visceral and surrealistic novels, short stories, and poetry, including The Hustler’s Grotto of Christopher Street (1983) and Violet Obsession (1998). Later, in her art, she began to revisit earlier themes, including theInfinity Net paintings and Accumulation sculptures. In recent years she has continued to invent ingenious embodiments of infinity in dizzying walk-in mirror rooms and freestanding sculptures, such as Passing Winter — hand-beveled mirrored cubes that yield an abyss of endlessly repeating self-portraits to their viewers.
Following the success of her project for the Japanese Pavilion at the Venice Biennale in 1993—a dazzling mirror room filled with pumpkin sculptures, like an artful pumpkin patch over which she presided in magician’s garb—Kusama went on to produce a huge, vivid yellow pumpkin covered with an optical pattern of black spots as an outdoor sculpture. The pumpkin, like the infinity net, became a kind of alter ego for her. She has since completed major outdoor sculptural commissions, mostly in the form of brightly hued, monstrous plants and flowers, for public and private institutions including the Fukuoka Prefectural Museum of Art, Fukuoka, Japan; Benesse Art Site Naoshima, Japan; Matsumoto City Museum of Art, Matsumoto, Japan; Eurolille, Lille, France; and Beverly Hills City Council, Beverly Hills, California.
Kusama’s work is in the collections of leading museums throughout the world, including the Museum of Modern Art, New York; Los Angeles County Museum of Art, Los Angeles; Walker Art Center, Minneapolis; Tate Modern, London; Stedelijk Museum, Amsterdam; Centre Pompidou, Paris; and the National Museum of Modern Art, Tokyo.
Major exhibitions of her work include Kitakyushu Municipal Museum of Art, Kitakyushu, Japan, 1987; Center for International Contemporary Arts, New York, and the Museum of Modern Art, Oxford, 1989; “Love Forever: Yayoi Kusama, 1958–1969”, Los Angeles County Museum of Art, Los Angeles, 1998 (traveled to the Museum of Modern Art, New York; Walker Art Center, Minneapolis; and Museum of Contemporary Art, Tokyo, 1998–99); Le Consortium, Dijon, 2000 (traveled to Maison de la Culture du Japon, Paris; Kunsthallen Brandts, Odense, Denmark; Les Abattoirs, Toulouse; Kunsthalle Wien, Vienna; and Artsonje Center, Seoul, 2001–03); KUSAMATRIX, Mori Art Museum, Tokyo, 2004 (traveled to Art Park Museum of Contemporary Art, Sapporo Art Park, Hokkaido); Eternity’s Modernity, National Museum of Modern Art, Tokyo, 2004 (traveled to the National Museum of Modern Art, Kyoto and other venues in Japan, 2004–05); and “The Mirrored Years,” Museum Boijmans Van Beuningen, Rotterdam, 2008 (traveling to Museum of Contemporary Art, Sydney, and City Gallery, Wellington, New Zealand, 2009).
Picking up perfectly off the back of last season’s show, Ghesquière created a cohesive collection that developed ideas that he had just touched on in his debut. His impressive talents with state of the art construction techniques and love of modern fabrics once again worked marvelously well, backed by the wealth of noble textiles Louis Vuitton has put at his disposal.
He started strong with some fitted “mixed media” dresses and tops that wove together an array of different knitting techniques to create a textural eye-catching design. One that he elaborated on throughout the collection, later offering the idea up in softer ruffled short dresses, and towards the end he folded in sections crafted out of knitwear or leather to give the elaborate construction a heightened sense of daring.
A selection of stripy eel pieces will be fought over for editorial coverage. As will some playful pieces covered in a print that featured floating household objects like hairdryers, eyelash curlers and salt and pepper shakers or a group of shimmer trompe l’oeil mini dresses. The velvet pants and head to toe printed versions will also get pulled by stylists but might be passed over by customers who want to keep that aspect of the 70s a distant memory.
There was also a large selection of quilted, boxy Louis Vuitton bags to choose from. But they actually worked like accessories this season, rather than statement pieces, blending in seamlessly into each technically impressive look.
A big clockin the background marksthe timeof the big event. The setting isthe ‘900s, the context ishighly placedand sophisticated.And herebetweenbrakesscreechingon the tracksand vaporsfiredthat dissolveslowlyemerges the greatlocomotiveand from there beginsthe show.We are intheLouvre in Paris.The modelsfallone by onefrom theircarriagesinMary Poppinsstyle, accompanied by theirfaithfulporter, who helps carrythe luxuriousLouisVuittontrapeze, travel, bowling bag. They arenoble, are retro, are the symbolof fashion.The clothes arealmostsecondaryin front of thisshow. Silhouetteof three partswith cape, dress–coat and short trousersabove the ankleembellished with embroidery, decorative buttonsand applicationsthat are made, more and more precious. The inspirationisthe runwayof MiucciaPrada.It wasMarcJacobsfor the French fashion houseto create it forParisFashion Weekautumn/ winter 2012. “A pharaonic show” was defined. The fashionthat aims todevise arepresentation that cansupport themediaexposureof the product, turning into a realtheatrical performance.