Dear LVMH, please can you slow it down with the store openings, exhibitions, out-of-the-way fashion shows and, well, everything else? I’m breathlessly trying to keep up. Next week is the Dior Cruise show and the long awaited re-opening of its Bond street flagship, this week was Cannes, Vuitton Cruise and a rather excellent exhibition opening in the LV Bond Street Maison.
Louis Vuitton’s The Art of the Journey is a must-see if you love product design innovation. It spans the entire store, with exhibits starting in the usually-only-for-VIPs top floor private apartment and working their way down.
Here you’ll find the Brothers Campana egg-shaped Cocoon chair produced in fiberglass and rich red calfskin (below), as well as a version of Mr Vuitton’s original fold-up bed design, the astonishing origami-like folding stool by Atelier Oï (in lush tan leather), plus the equally mind-blowing Concertina chair and table by Raw Edges (flower-like designs whose ‘petals’ fold flat, above).
Everything is transportable as per the theme of the exhibition, which, of course, nods to the travel-centric origins of the brand. Louis Vuitton started life as a packer and his expertise at packing trunks for the 19th century jet set led him to creating his own luggage line as well as all manner of objects made for easy transportation.
Alongside the contemporary design classics realised for Vuitton’s Objets Nomades project by the world’s best known product designers, there are archive objects and bespoke pieces to tickle your fancy, should you be lucky enough to afford this luxury service.
From a travelling casino, to a picnic set for the caviar connoisseur, to darling portable writing trunks (find them in the bookshop), there’s everything here to let you dream. My highlight? The Marcel Wanders folding Lounge Chair in cherry red leather on the ground floor. A modular, multi-use chaise, the whole thing dissembles easily, packs into itself and straps neatly together. Pop it in your car boot for your next adventure and whip it out when the urge strikes you to have an impromptu lie down. Oh, the endless possibilities of Louis’s little luxuries…
Sometimes I miss classic, old school, old money Louis Vuitton – no bells, no cyber whistles. It takes me back to my old au pairs with their tan-strapped cross body monogrammed bags, belted camel coats and stack heeled boots. (And denim flares, it was the late 70s.) Oh yes, I had very chic au pairs….
Here’s the latest weekly DRG STYLE INDEX ranking, a round-up of the brands currently buzzing on my radar…
1. ALEXANDER MCQUEEN, THE MOVIE
So an Alexander McQueen biopic has been announced which should be very interesting. I can’t imagine it’s an easy film to get made, so many people to keep happy. You want to tell a compelling story but equally you need the notoriously protective family, friends and Kering gatekeepers to comply. (more…)
Bill Berstein’s eye-opening new book documents the New York discos of the 1970s
Poor old disco! So derided, so misunderstood. But things are looking up, with a return to unashamedly feel-good dance music and a rose-tinted look back to the hedonistic sound of the 70s. Nile Rodgers arguably helped kick off the latest disco revival, first with his 2011 autobiography and next with a new generation of artists wanting his production skills on their music (hello Daft Punk and Pharrell Williams). Then came the festivals, with thousands of youngsters blissing out on old Chic tunes.
The sybaritic, forget-the-outside-world spirit of disco suddenly seems just the tonic for today’s uncertain political and economic landscape. And five weeks ago, a timely tome arrived called Disco, a photo book by New York photographer Bill Bernstein. Celebrating the escapist world of 1970s New York nightclubs, the making of the book is itself an interesting story.
In 1977, Bernstein, a freelance photographer for the Village Voice, was commissioned to photograph an award presentation at Studio 54, honouring then-President Jimmy Carter’s mother Lillian for her humanitarian work. As the dinner ended and the regular clubbers started to arrive, Bernstein’s sixth sense urged him to stay a little longer. He bought ten rolls of film from a departing photographer and spent the next few hours capturing a ‘night world’ previously unknown to him, in which Wall Street suits cavorted with gay tourists and celebrities boogied with transgender revellers. “Had I been suddenly transported back to a pre-war Berlin cabaret?” a dazed Bernstein wondered. “Who were these people of the night and what was their other, real life like?”
The resulting photos were a revelation and inspired him to keep going, discovering other discos and clubs and their eclectic patrons. 1970s New York was going through a political and social change. While activists campaigned for women’s liberation, gay liberation and racial equality, these clubs were a place for marginalised New Yorkers to find acceptance and respite from everyday conflicts. The disco was a democratic hangout, whoever you happened to be.
Time passed and a publisher proposed a book commission. Bernstein and a writer would document New York’s nightlife in words and pictures, a permanent record of these underground 70s scenes, from the fabulosity of the Empire Roller Disco to the gay abandon of the Paradise Garage. Except things didn’t quite pan out as hoped…
It was the end of the 70s, disco music had become mainstream and there was a rock backlash, culminating in an anti-disco demo that turned into a full-blown riot. Aids had started to claim lives and the frenetic freedom of the scene was giving way to a culture of fear. There were changes at the publishing house, the original editor departed and others were less invested in the project. The book was somewhat neglected. Instead of the richly-produced publication that Bernstein had envisaged, the result was Night Dancin’, a low-production, soft back affair (which nevertheless, over time acquired its own charm, becoming something of a collectors’ item in music circles).
Fast forward to 2002 and a British music producer, David Hill had an idea. He owned a copy of the out-of-print Night Dancin’ and not knowing the back story, decided to track down the photographer to propose an updated version of the book. Thirteen years later, the resulting Disco, is a beautiful, large format tribute to the democracy of the dance floor, in which the focus is squarely on the everyday punters, not the rich and famous of Studio 54.
As Bernstein points out in his introduction, “the disco was a haven of acceptance and inclusion. It was much more than celebrities, drugs and music – the disco was a state of mind. For a brief period of time, discos offered a place where everyone – white, black, Hispanic, straight, LGBT, young, old, famous, or not so famous – could meet up and party without judgment or prejudice.” My favourite shots are of the young rollerskaters of the Empire Roller Disco and the glamorous barefoot groovers of Xenon (top). I’ve turned these pages a hundred times and always notice something new. While individually, the pictures are wonderful vignettes of stories within stories, as a whole, Disco serves as an uplifting symbol of unity, in which class, colour, sexuality and the rest are of little concern. For those few hours, in those long gone clubs, all that matters is the music, the dancing and the freedom. Long live the disco…
Disco: The Bill Bernstein Photographs (£40, Reel Art Press) is available HERE and HERE.The exhibition, Bill Berstein – Disco, is at Serena Morton II, 343-345 Ladbroke Grove, W10 until 23rd January 2016 (currently closed, reopening 11th January). Serenamorton.com
WORDS: Navaz Batliwalla/Disneyrollergirl
IMAGES: Bill Bernstein