Next stop, Louis Vuitton

After Paris, Tokyo and Seoul, it had to make a stop in New York City.

Curated by Olivier Saillard and designed by artistic director and set designer Robert Carsen, the exhibition ”retraces the adventure of the House of Louis Vuitton from 1854 to the present” in ten chapters (previously they were nine but for New York a tenth one has been added, entirely devoted to America and the City).

So, let’s pack our bags and Fly, Sail, Travel for a few days, together with LV. Adventure and grand style guaranteed. What say you? We’ll start with a cruise…

Bed trunk in damier canvas once belonging to Gaston-Louis Vuitton, 1892
Speed bag in monogram miroir vinyl, F/W ’06-’07
Sylvie Fleury Vuitton bag, 2001
Azzedine Alaïa, Panthère Alma bag, 1996
Alzer suitcase in nomade natural leather, created for Wes Anderson’s film ”The Darjeeling Limited”, 2006

Back to front:
Steamer trunk in zinc once belonging to the Count de Pimodan, 1895
Special trunk in zinc, 1899
Suitcase in coated canvas, custom-made for the Yellow Journey, 1930
Louis Vuitton by Nicolas Ghesquière, Boîte Promenade Croisière in canvas, F/W ’15-’16
Jean Luce for the Manufacture de Sèvres china tea set bearing the Croissant d’Argent Imprint, emblem of Louis Audoin-Dubreuil, ca. 1920-1930
It sits on a Yellow Journey bed trunk in duralumin, 1930

Special car trunk in coated canvas, custom-made for the Black Journey, 1924
Special photographer’s trunk in vuittonite canvas once belonging to Albert Kahn, 1929
Special trunk in vuittonite canvas, 1906

Steamer  bag in cotton canvas once belonging to Gaston-Louis Vuitton, ca. 1901
Louis Vuitton by Nicolas Ghesquière City Steamer bag in leather, Cruise 2016
Steamer trunk in vuittonite canvas once belonging to Lili Damita, 1928
Lucien Lelong evening gown, 1937

Tennis shorts once-piece, ca. 1930
Beach shorts once-piece, ca. 1930
Old England coat with belt, ca. 1930
Summer dress with belt, ca. 1930-32
Steamer bag in leather, 1938

Ensemble in crêpe de chine with a black and ivory pattern, ca. 1935
Steamer bags in cotton canvas, 1901
Callot Soeurs evening gown in rust-coloured silk velvet, ca. 1935


at the American Stock Exchange Building, through January 7th, 2018.

Admission is free

November 12th, 2017

The Best of the Rest @ MAD

From the  permanent collection.

I was particularly drawn to the delicate work by Tomoko Ishida ”Co-twisted, 2003”, using paper and starch. The intricate Macramé knots and fringes by Françoise Grossen, like her Shield & Blu, c. 1968. And the most striking of them all,  Judith Shaechter’s stained glass kaleidoscope, adorning the second floor stairwell. Aptly titled ”Seeing is Believing” this site-specific permanent installation extends the art viewing to an otherwise bare and functional space and rewards those curious enough to peek behind closed doors. 

The Museum of Arts and Design (MAD)
2, Columbus Circle
New York City

March 12th, 2017

Counter-Couture @ MAD

Mid-March was icy-cold here in New York; the City was covered in snow. But spring was around the corner and summer a hop, skip and a jump away. And not just any summer – this year marked the 50th anniversary of the legendary San Francisco Summer of Love, in 1967.  There would be a ton of events to celebrate it on West Coast later on but, here we were, in New York City, in full winter attire, off to see ”Counter-Couture: Handmade Fashion in an American Counterculture”, an exhibition of handmade dresses and accessories made by those free-spirited crafts-men and women who, in their rejection of the establishment of conformism, materialism and consumerism, went on to create some of the most original, superbly crafted designs, examples of which you are about to see below. They were the Hippies, the Flower Children, those young, idealists who struggled for equality and peace but got lost in their quest to reach those higher – LSD infused – levels of consciousness. They were men and women of my generation and they helped shaped me – and others like me – into the characters we have become today. Imagine how the world would have been, had they not got lost on their way.

Images from the exhibition

Michael Fajans
Hand-embroidered and appliqué Army Coat, 1967

Janet Lipkin
”Paisley”: Coat for Sylvia Bennett, c. 1970

Barbara Ramsey’s coat and jeans exemplify the Counterculture’s resourcefulness and need for self-expression. Each small patch bears a story or memory of its own and forms a scrapbook of life experiences – worn by the person who lived them.

In 1971 Ramsey was given a ragged, wool-lined coat that she patched with fabric. As time passed, she sewed layers of patches made from other worn-out clothes onto the coat. Ramsey applied a similar process to a pair of jeans and eventually completed the outfit.

Barbara Ramsey
Medical School Outfit, 1971-75  


100% Birgitta (Birgitta Bjerke)’s crocheted coats for Roger Daltrey of The Who and his then wife Heather recall the psychedelic visual culture of the 1960s rock-and-roll scene. Displayed flat on the wall, the garments – constructed in fan shapes – vibrate with kaleidoscopic colours that suggest blossoming flowers, Tibetan mandalas, and patterns inspired by Indian textile traditions.

Dancepiece by Leslie Correll, 1971
Hammered brass, Turkish beads, African (Venetian) trade beads mounted on old Indonesia batik fabric


Kaisik Wong’s evening ensembles (above) and Yellow and Green Ray dress and headdress (below) from the ”Seven Ray” series, 1974. 

Mama Cass Elliot Dress (below left) c. 1967.
Cass Elliot was a member of The Mamas & the Papas. The panne velvet dress she wore, with its gentle ombré gradient colour, brings to light the dreamy character of her stage presence. Celebrated as a sex symbol and role model for young women of her generation, Elliot donned theatrical styles that showcased her dynamic personality and held the attention of her audiences and fans. The appliqué sunburst on the front of the bodice depicts Virgo, Elliot’s astrological sign, while reflecting the Counterculture’s interest in self-exploration through the study of cosmology. 

SAS Colby – Ruffle My Feathers, 1972

Fayette Hauser, Cosmic Gypsy Ensemble, 1970

Gretchen Fetchen (Paula Douglas). Acid Test Dress and Boots, 1965.

Gretchen Fetchen was one of the early participants in the San Francisco Acid Test happenings organized by Ken Kesey’s Merry Pranksters in the mid-1960s. The events were designed as gatherings to promote consciousness expansion and creativity through the use of LSD which was then legal. 

Counter-Couture: Handmade Fashion in an American Counterculture was on show at

The Museum of Arts and Design (MAD)
2, Columbus Circle
New York City

March 12th, 2017