LOUIS VUITTON'S ART BASED APPROACH
Since the beginning of the twentieth century, there has been an interconnection between the fields of fine art and fashion. The works of fine artists have served as a source of reference for fashion designers, who have incorporated artistic visual elements, such as colour palettes, shapes, and design principles, into their creations. A notable illustration of this phenomenon is the mini dress, which drew inspiration from Piet Mondrian's abstract paintings and was designed by Yves Saint Laurent in 1967. Moreover, the field of fashion has been further enriched by the experimentation of fine artists, as evidenced by the "reform dresses" designed by Art Nouveau proponents Henry van de Velde and Anna Muthesius around 1900. These loosely cut gowns were intended to liberate women from the health risks and bodily restrictions imposed by the corset.
In a similar manner, Maison Louis Vuitton has engaged in numerous collaborations within the realms of art and culture. The company has adopted a strategy of decommoditisation through its involvement in artistic and cultural collaborations, as evidenced by the establishment of the Louis Vuitton Contemporary Art Foundation, the proliferation of LV Cultural Spaces, as well as the recent formation of a department dedicated to art and culture. This series of initiatives collectively signifies the emergence of an art-based approach as a prominent facet of the house's identity.
The very first collaborative artistic projects go back to 1988 when artists like César, Sol LeWitt and James Rosenquist were commissioned to design a silk foulard for the house. The production of it was limited in scope, a feature that would subsequently be replicated in the creation of the handbags two decades later. The materiality of the silk foulard, being comparable to that of a canvas, which serves as a representation of the traditional tools employed by fine artists, in contrast to the handbag, which serve a different purpose. The artistic collaborations of that period can be viewed in relation to those that took place over the past couple of years and the integration of artistic collaborations within the brand's identity has been identified as a pivotal element in enhancing its exclusivity.
In 2003, the brand entered into an artistic collaboration with Takashi Murakami. The project resulted in a limited series of handbags. The initial collection (Spring/Summer 2003), which emerged from this partnership between Marc Jacobs and the Japanese artist Takashi Murakami, proved to be so successful that Murakami was subsequently commissioned to create two additional collections, in 2004 and 2008, respectively. The initial collection, entitled Multicolour Monogram, entailed Murakami's modification of the hues of the iconic Louis Vuitton monogram canvas. The monochrome canvas, which was initially brown, was altered to a white background, while the beige signs were imbued with thirty-three different shades of pink, yellow, blue and green. This collaboration with Murakami led to a modification of various visual elements of the brand, which could have potentially detrimental consequences to the recognition of a brand that has built its reputation on elegance. In 2008, the relationship between Takashi Murakami and Louis Vuitton reached an even higher level. During a retrospective dedicated to the artist at the Museum of Contemporary Art (MOCA) in Los Angeles, the artist took the opportunity to install Louis Vuitton's pop-up store at the heart of the exhibition, as if it were a work of art itself rather than a commercial section of the museum. The pop-up store featured the collection created in collaboration with the artist, and visitors had the opportunity to purchase the products on display.
Undeniably this approach led to the creation of Louis Vuitton Cultural Spaces, which constitute sites dedicated to the display of art. Located at the uppermost storeys of Louis Vuitton flagship stores in Paris, Tokyo and Monaco, the visitors have the opportunity to experience an exhibition of artworks. These spaces are strategically positioned in close proximity to retail areas, enabling consumers to engage with the cultural exhibits while they are shopping. These spaces bear a resemblance to art galleries, serving as a point of encounter between artists and potential buyers, and communicating with the primary target audience of the brand: the international cultural elite.
The brand positions itself as a cultural agent rather than solely as a producer of luxury goods, by strengthening its position in the international artistic scene through direct contact with artistic experts. This strategy positions Louis Vuitton as a cultural institution, exemplified by the establishment of the Louis Vuitton Foundation for Contemporary Art in the Bois de Boulogne in Paris, inaugurated in 2014. The inauguration of a contemporary art museum directly managed by the brand serves to further confirm the brand's involvement as a patron of the arts.
The art-based strategies employed by Louis Vuitton are poised to undergo continuous evolution, with the objective of enhancing the profitability of ready-to-wear sales. This evolution will be characterised by the realisation of capsule collections in collaboration with artists, a strategy designed to circumvent the commoditisation of art and cultural products. Undeniably art and culture will continue to serve as integral parts to a strategic activity at the centre of the brand.
