時尚迷必看展覽！日本東京「LOUIS VUITTON＆」展期資訊、5大亮點一次看

時尚迷必看展覽！日本東京「LOUIS VUITTON＆」展期資訊、5大亮點一次看

「LOUIS VUITTON＆」亮點5. 手袋、行李箱變身藝術家的畫布

路易威登與藝術家合作的最精彩篇章絕對就是Artycapucines系列！將LV的包款化為可隨身攜帶的畫布，無論是村上隆的趣味漫畫人物、Jeff Koons重新演繹的《蒙娜麗莎的微笑》，還是路易威登的經典主題（例如代表性的1896年Monogram），全部都經過重新設計和改造，這個展區呈現橫跨超過25年歲月的當代頂尖藝術家合作計畫，迄今已邀請12位藝術家讓這款手袋脫胎換骨。

路易十四將成「Louis 14」？法博物館簡化文字挨轟

法國首都巴黎的卡納瓦雷博物館（Carnavalet Museum）經過四年裝修，近日正準備重新開放，同時也跟上羅浮宮的腳步，將館內許多羅馬數字換成阿拉伯數字，卻引發媒體批評，還指「太陽王」路易十四會從「Louis XIV」變成「Louis 14」。

泰晤士報報導，卡納瓦雷博物館認為現代多數訪客對羅馬數字感到困惑，才會以「普遍可及」（universal accessibility）為由，著手限制館內使用羅馬數字，並改換成阿拉伯數字。

報導指畫廊文字介紹提到君王時，仍然採用羅馬數字，但提及第幾世紀則改用阿拉伯數字，相關變革將觸及路易十四騎馬像與路易十六最後旨意等部分主要館藏的介紹。

但「純粹主義者」擔心，全館「普遍可及」標示使用阿拉伯數字描述君王與世紀，像費加洛報稱路易十四變成「Louis 14」或亨利四世變成「Henri 4」實在「戳眼」（pricks the eyes）。藝術論壇報（La Tribune de l’Art）網站批評，「這個博物館顯示它們鄙視文化與未來的訪客，推測他們教育程度不足以看懂（羅馬數字）」，更有法媒指義大利多家媒體對此表達抗議。

卡納瓦雷博物館訪客服務主管吉拉爾（Noémie Giard）指出，換用阿拉伯數字是館方整體簡化文字與標示的計畫之一，「我們對羅馬數字完全沒意見，但它們可能變成理解的障礙。我們都注意到，少有畫廊訪客會讀文字，特別是太長的時候，他們傾向從一個展品跳到另一個展品後隨便看看。我們也常見到家長打算為小孩讀解釋」。

拉丁語學家兼作者蓋拉德（Jacques Gaillard）批評，「我們已受到美國影響20年了，美國人不懂怎麼讀羅馬數字。古文化被打敗到謹慎撤退，知識被殲滅了」。但費加洛報對此表達質疑，指洛基系列電影標題都用羅馬數字，「席維斯．史特龍…不是巴黎人真是羞恥」。

Louis Vuitton Ginza Namiki / Jun Aoki & Associates + Peter Marino Architect

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Architects: Jun Aoki & Associates, Jun Aoki, Peter Marino

City: Chuo City

Country: Japan

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Text description provided by the architects. With great anticipation, Louis Vuitton announces the arrival of Louis Vuitton Ginza Namiki in Tokyo’s Ginza district. The store presents an ambitious transformation of an existing location. Reimagined as an aesthetic dialogue between virtuoso architects, Jun Aoki and Peter Marino, an entirely new, naturalistic tower rises, inspiring wonder – both outside and within.

From the same corner siting, occupied by Louis Vuitton since 1981, the building’s highly modern appearance interprets the reflections of water as a material phenomenon. Poetic yet playful; shimmering and rhythmic. Once a peninsula extending in Tokyo bay, this evocation of water is expressed throughout as smooth, undulating surfaces – from the glass façade that transmits shifting colour to the feature staircase and fixtures. Spanning four floors, the retail offering is complemented by a permanent pop-in space for seasonal animations of new arrivals and an upper level dedicated to private salons. The store experience culminates in Le Café V, where celebrated chef Yosuke Suga collaborates for the second time with the House, additionally developing flavours for Le Chocolat V, the first-ever line of Louis Vuitton chocolates that will make their world debut here at the end of April.

Reflecting Ginza - Comprised of two layers of glass, Jun Aoki’s façade is at once monolithic and imbued with fluidity – his representation of a “pillar of water.” Practically seamless, the outer panes curve and ripple; their three-dimensional surface enhanced by dichroic glass that produces endless colour variations. At street level, the building reflects the dynamism of Ginza; higher up, neighbouring towers become wavy apparitions, while a skyscape sweeps across the glass, marking the passage of each day.

In the evenings, the bright reflections that dance around the base fade upward, giving the illusion of immateriality. Meanwhile, a double-height transparent opening curves around the street corner as the principal perspective into the store with space to stage the signature Louis Vuitton window displays.

Always Current - Once inside, Peter Marino’s design emphasizes the building’s organic aesthetic with a central staircase that unfurls like a ribbon of sculpted oak bordered by glass. A second staircase, located towards the rear of the store, is framed by a four-story feature wall that reinterprets Kimiko Fujimura’s painting, Wave Blue Line (1977) in artistic applications of plaster. Continuing the water metaphor, circulation becomes both architectural and spatial. As clients move through the store, they will notice curving counters and ceiling panels that contribute to the sense of flow. Rounded furniture in light nuances of wood and glass by Morten Stenbaek or Isamu Noguchi add to this effect. Even the elevator conjures the sensation of water and sky, with the rippled metal surface multiplied by mirrors playing out as though an endless horizon.

Navigating the Store - Of the seven floors, four are dedicated to retail. The main level comprises women’s leather goods, watches & jewellery, and the permanent pop-in space, with additional women’s leather goods, as well as accessories, travel and fragrance located on the second floor. The women’s universe – including ready-to-wear and shoes – extends across the third floor; while directly above on the fourth floor is the complete men’s universe. VIC and VIP salons can be found on sixth floor; and on the uppermost level, are Le Café V and Le Chocolat V, the debut of Louis Vuitton as chocolatier.

An Enhanced Offering - In addition to showcasing a full range of the latest products, the store will be a destination for exclusive pieces, starting with a limited reedition of Rei Kawakubo’s Celebrating Monogram collaboration bag from 2014 in leather. The legendary designer’s first association with Louis Vuitton dates further back to 2008 when she created six customised bags in Monogram canvas, having admired the House’s approach to craftmanship and savoir-faire ever since the opening of its first Japan location in 1978. Among the initial selection of exclusive pieces will be the men’s LV Ollie sneaker embellished with embroidery and pearls; a fully-embroidered Monogram sequined dress; and a slim Tambour watch exquisitely accented with blue and purple sequins. Handbags that can be found only at Ginza Namiki include the Capucines BB in a timeless accord of grey canvas and navyblue leather, and the Boîte Pharmacie handheld Monogram trunk designed in collaboration with kabuki actor, Ebizo Ichikawa XI.

Chromatic Energy - From Pierre Paulin and Stefan Leo furniture in acidic hues to works from Ed Moses, Vik Muniz and Zhang He, colour infuses the store with vibrancy. Arrangements of seating, design objects, carpets and art shift through different expressive tonalities: an impressionist scheme of pink, orange on the women’s floor, saturated shades of red, turquoise and lime on the men’s floor; and a mix of muted and pop accents throughout the private salons which have been conceived with a modular layout for larger or more intimate settings. With additional abstract art from the likes of Kimiko Fujimura, Ida Tursic & Wilfried Mille and Peter Dayton, colour acts as an uplifting and inspiring theme that takes many forms.