In my eyes, the Multicolore Speedy 30 is the most stunning and attractive one in Louis Vuittons’ MC line. Not to be similar with any other bags from this line, the Speedy 30 has been appointed to the requirements to join the “timeless crew”. On the whole, the classic design and unique specific peak the Multicolore Speedy 30 among the big whole Louis Vuitton family.

I have to refer to Multicolore line of Louis Vuitton at this moment. The creation of the Multicolore line of the collaboration between Louis Vuitton and Japanese artist Takashi Murakami first brought appearance of Multicolore line back to 2003. I exactly adore the front buckled pocket and delicate interior of Louis Vuitton bags. The bags from this line gave vogue to the young of Hollywood including Paris Hilton and Jessica Simpson, especially the Louis Vuitton Multicolore Speedy 30 I’ve referred.

Traditional LV luxury meets art from the classic essence of the speedy bag and modern, fresh and colorful designs from Takashi Murakami. The vibrant new candy-colored line instantly takes the top of the trend and quickly made its way into the arms of many celebrities. What’s more, the shiny gold hardware corners on the bottom make this Multicolore Speedy 30 from all other bags of Louis Vuitton. I even feel that this stunning purse is the one that will never be out of date and can be carried with any outfit anywhere you like.

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Recently, the fashion circle hot thing is that Louis Vuitton and the young female director Sofia Coppola cooperation. She designed for the Louis Vuitton Χ Sofia Coppola family’s shoes and handbags, practical style with luxurious materials, will be Louis Vuitton Sofia Coppola simple low-key luxury and elegance together, complement each other, is expected to set off a wave of panic buying. 

Sofia Coppola wrote her first visit to Louis Vuitton in France, Aspires factory orders for a lie down after the Department decided to cooperate with the Louis Vuitton . "At first I just want to give their own customized a handbag, and then we talk about design some new products." She disclosure, "I and my friends always want to find a good-looking and practical handbag, not too much should not be too heavy, just a good fit in all things. "She also said even in the fashion like classic," I think the classic leather bag from the LV series can be ordered a day out of the street handbags, rather than the pursuit of a fashionable brand LV . "

She even, and LV’s designers spent a year, is to create the best design, "We thought a lot of design, very interesting, I always like to add some of those programs designed to create a new new models. "

Hard work pays off eventually, they designed a 4 SC handbags: a building with a dark gray suede, dark blue and purple calf with two built, there is a canvas with a build with LV Logo. Sofia Coppola also designed with four slim-type mobile LV classic button-hold package, In addition, she said the design Shihai think "fashion Heroine" Lauren Hutton, so he designed a portable canvas larger LV grip package.

Travel always seems to rush a busy schedule away from home, a warm fire and a sweet and delicious soup. However, when you open the Louis Vuitton travel this advanced custom caviar meal box, whether its small stature or practical content, absolutely can make love to sip champagne, high taste you love caviar it scenery and elegant.

If only a small vanity case, wrapped like Louis Vuitton embossed leather amulets, and gently turn on the spin button, he would appreciate them exquisite tableware and cups: so elegant, amazing.

Recently, Louis Vuitton flagship store in Shanghai Plaza officially opened in the store among the world’s first hand-studio (Louis Vuitton Atelier). Also show a variety of hand studio special custom products, such as: the first appearance in China, a special customized mini-series, put champagne and drinking cups of the suitcase, and guests can enjoy a precious caviar taste trip travel food boxes, etc., show the unique brand of customized service and whimsy.

Meanwhile, the Shanghai studio will be guests on hand while providing personalized custom (Made-to-Order), tailor (Custom-Made), text and letter stamping, drawing and the Mon Monogram, including all the special set system services.

For Marc Jacobs “Bang” exposes everybody naked not to be already strange once more to Marc Jacobs, but this time, pony elder brother again bare, actually lets the human see the astonishing muscle line, had not known is result which he trains hard, staff’s result diligently.

Marc Jacobs works as the model photography personally the Bang perfume advertisement Marc Jacobs has dared the bold design style which expresses to be famous, but recently, his astonishing conception also expanded on the perfume, this is he holds the post of the advertising model for the first time for own brand. In the promotion advertising, Marc the Jacobs whole body flesh exposes and spreads the full polishing oil, only covers up the important spot by huge Bang scent-bottle, the posture sex appeal arouses.

This advertising reel by has long-term cooperation photographer Jorgen with Marc Jacobs the Teller palm mirror photography. Marc Jacobs said: “this perfume is for these, regardless of being young the present generation who or not still harbors the young point of view to promote”. This time, pony elder brother, for the first section of male fragrance “Bang” volunteers the photography advertisement, pose and places the perfume similarly the important spot the creativity, lets the human be able not but to associate Tom Ford, but, this section of perfume’s bottle body, is Marc Jacobs exclusive style absolutely. But holds the post of this advertising model by him the idea is actually his work partner Robert Duffy proposed. Robert said to him: “Marc, you now this appearance seem good, you may hold the post of the gentleman perfume the advertising model”.

After but when Marc Jacobs agreement taking the post of advertising model, actually discovered that could not find an appropriate clothing to express its idea, he attempted has been putting on clothing’s modeling, thought not appropriately. Therefore had present this new creativity under photographer’s suggestion. In the silver advertisement background and the advertisement Bang perfume product matches.

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HandbagsMaMa.com Interview with Graphic Designer Michael Rock Part 2

Today’s feature—Louis Vuitton handbags HandbagsMaMa.com Interview with Graphic Designer Michael Rock Part 2

HandbagsMaMa.com: Whose views come first in your design for cultural institutions: audiences, artists, curators, trustees even?
It is a typical design project, you always have a divided and multiplied audience, although maybe it is even more complex in a museum. You are dealing first and foremost with the public who use the museum, but then you have the artists who show there, the curators, the board of trustees, the director and his or her staff. Ideally everyone keeps the absolute end in mind, but this is often not the case. The public are probably the last people to notice the design, but ultimately it must function for them.

Have your designs been subject to focus groups?
Not so much in the museum context, it is more typical for them to have gone through some kind of branding exercise before they approach us. But I have yet to find one of those that is that useful. They are usually full of suggestions that you could probably have thought up on your own if you had had a couple of minutes, such as people don’t like to go to the Brooklyn Museum because it is in Brooklyn! The result is usually along the lines of ‘our goal is excellence’ — pretty generic statements.

Do you personally regret the developments that have made cultural institutions behave more like businesses?
No, I think it’s the nature of our times.

Do you see your input as part of this process?
Absolutely, we are an integral part of that. I tend not to get nostalgic about some time when culture was pure, because I doubt that there was ever such a time. In general, culture doesn’t work that way.

Do you me design to distinguish cultural institutions from commercial ones?
To a certain extent, I think that cultural institutions are a bit softer in terms of what they can do. They don’t nec¬essarily want to be as crass in presenting their organiza¬tion and they may be more accepting of certain visual ideas, but these are all generalizations.

Did you ever feel that you are protecting a cultural institu¬tion through design?
No, in my experience directors of cultural institutions see them as extremely flexible organic organizations. They are not to be protected, but perfected. We improve on, focus or sharpen, rather than preserve.

Have you ever felt that your work has been compromised by a corporate sponsor?
No, but a lot of organizations we work for are privately funded and that raises interesting questions. For instance we just completed the Nasher Sculpture Center in Dallas, a museum that was paid for by one person. It is an institution that anyone can go to, a gift to downtown Dallas of a sort, but it is sponsored by an individual who has total say on what happens there. Personally, I don’t think the public are compromised by that. It was the condition of creating the museum.

Are there any institutions that you do feel are compromised? Many people would cite the Guggenheim …
The Guggenheim is seen as the dark knight of museums and Thomas Krens as a figure who has destroyed culture by the introduction of commerce, but I don’t agree. He’s operating a kind of experiment, exploring what happens when you use the cultural value of a very well known organization as leverage. I can accept this because I don’t believe art was ever pure. It has always been used politi¬cally, as status and leverage. High art was first intro¬duced to American consumers through department stores in the nineteenth century. The idea of a pure cultural space is a myth. Conditions are different now, but they are not any better or worse than before.

Have directors and museum boards become more aware of the issues around identity design over the period in which you have done this kind of work?
In general, the overall awareness of identity and branding has increased immensely. I think that this has been influenced by a couple of things. One is the devel¬opment of the Internet — websites have made people aware that the way something looks is part of the product — and, at the same time, branding started being taught in American business schools as part of the curriculum. Anyone who has been through Harvard Business School in the last fifteen years has had a long, very evolved discussion about the meaning of branding. They will probably have had a lecture from Martha Stewart. Businessmen have become much more aware of the value-adding quality of the visual.

Do you look at other institutions in the field? Do you feel you are placing your product?
Yes, very much so. Over the years we have collected a huge database of information about different cultural institutions, that is part of our expertise. We have a design presentation that starts with an exhaustive survey, encompassing the naming of institutions, their look, how they use colour and typography and so on.

In terms of the Brooklyn Museum, which institutions did you include in your comparative survey?
We started off comparing it to all museums worldwide, looking at 300 different logos. Then we narrowed it down to museums of the city and other museums with ency¬clopaedic collections. We also looked at different strate¬gies for naming, full names, acronyms and so forth. As a counterpoint, we also compared it to other kinds of institutions that aren’t cultural, like Target or Nike.

Are there any of your own cultural identity projects that you would pick out as particularly successful?
Different ones stand out for different reasons. A while ago we did the identity for P.S. 1, which is a contempo¬rary art institution in New York based in an old school building in Queens. I think theirs has been an extremely successful graphic programme. It is really simple and works in a very straightforward way.

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HandbagsMaMa.com Interview with Graphic Designer Michael Rock Part 1

Today’s feature—Louis Vuitton handbags HandbagsMaMa.com Interview with Graphic Designer Michael Rock Part 1

HandbagsMaMa.com: Does designing for cultural institutions require a particular approach? Are there particular considerations in designing for culture?
Michael Rock: You can look at that question from two different directions: one: does the work need to be different because it is a cultural institution rather than a com¬mercial one? And, two: is there something about the organization of cultural institutions that makes working for them different?
In my experience, notions of hierarchy and inclusion are quite different in cultural and corporate environments. While corporate clients are comfortable with clear hierarchies and chains of command, cultural institutions often seem to be more invested in inclusivity. Even while the director might have absolute power, there is a desire to be sensitive to the rank and file. The process tends to be much more about consensus building.

Does that kind of view go for the audience as well? While a corporate client might have an idea of a hierarchy of con¬sumers, with the wealthiest at the top, a cultural client will take a much more democratic view?
Design for cultural institutions is directed at the public in a very broad sense, rather than at a demographic market. Of course cultural institutions have demograph¬ics, but they tend to see their mission in broader terms. For instance, we have just finished work for the Brooklyn Museum. It is the second largest museum in America in terms of its collection, coming in right behind the Metropolitan Museum of Art, but in terms of audience it is completely different. Brooklyn is probably one of the most diverse communities in the world. The Museum had to imagine their public mission in a very different way than, say, a corporation which is selling very specifically to eighteen-year-old boys.
Also, in general there is an altruistic aspect of a public organization. The work isn’t meant only to define or package the audience as a market segment. That brings me to the other part of my question: ‘Does the work itself have a kind of quality?’ I think it does in that it has the aspect of a public offering, it should be a gift to the public as well as a device to sell to them.

The public realm has become very finely graded in that there are now state-run museums and privately run cultural institutions and various shades in between. Do you try and reflect these types of ownership and control in your identity designs, or disguise them?
I don’t think we’re actively disguising. It usually happens in more natural way. When you are working for privately run cultural institutions, you are dealing with people who are already concerned with the aesthetic, people who see themselves as active players in culture. Relating to these issues, even when museums take a more commercial approach to branding, for instance the Guggenheim, which has become a franchiser developing a worldwide network of museums, it is still a cultural reaction to a commercial phenomenon. It is an example of cultural institutions realizing that they need to be part of commerce and to comment on it simultaneously. When a museum adopts a highly branded approach there is necessarily a level of commentary as well.

So you think that culture still makes sense as a category, even though it has an increasingly leaky boundary with commerce?
Yes it does, not least because cultural institutions don’t have nearly the budget or the level of exposure of big commercial clients. Ideas that might work for BMW or Nike, designs that would create a consistent message through sheer exposure, will not work for cultural insti¬tutions. Most museums don’t have one-hundredth, even one-thousandth of the advertising budget of a company like that, so they are relying on a much smaller number of impressions to create their image. It is a much more limited way of revealing yourself to the world.

Tou mentioned that the Metropolitan Museum has a very different audience to the Brooklyn Museum. Do these insti-tutions use design to try and change the nature of their audience, to make it younger for example?
To a certain extent, but while a big public museum needs to be aware of its audience, it doesn’t segment in the same way a commercial client does. The function of design for a commercial client is to create an audience that defines itself as a user of that product. For most cultural institutions that is still a fairly alien notion. They are public institutions and they want to be as broadly inclusive as possible. Their audience is limited purely by people who are interested in and love art. While, of course, all the contemporary critique is true — that museums have to sell things in order to survive, and they have to have corporate sponsorship and so on — at the heart of it, they are still organizations that demand nothing of the user other than that they show up and pay their $10. They don’t have to buy things in the bookstore or even have a cup of coffee, the market is very broad that way.

Are you simply trying to expand the audience?
All museums want to increase visits, that’s what proves they’re doing well. That means they have to create shows that appeal to certain markets, or they have to make their experience more pleasurable. They are trying to appeal to changing tastes in the market. Museum direc¬tors want to go to their boards and be able to say they increased visitor figures by 30% last year, or show increases in memberships, or simply bring in more cash.

But there is a reaction against this kind of thing, block¬buster backlash ..
Right, you get a lot of shows that people have problems with because they see them as dumbing down, or appealing too coarsely to popular taste. There is a big debate around all of those things.

The Director of the Art Institute of Chicago, James Cuno, describes all design and marketing, including shops and cafes, as clutter:, things that come between the viewer as the object.
Any gesture toward accessibility is seen as clutter, as dumbing down, but I think that there is an argument to be made from the other side. For a long time art museums have limited their audiences to the affluent, white middle classes and part of the dumbing down argument is about maintaining that status quo. If you want a broader audience, with different expectations of museums and different backgrounds, then you have to create different kinds of experiences. I don’t buy the purity argument, it seems to be somewhat classist and racist. I personally like the pure museum experience, but I am not sure that it’s the best experience or the only experience you can have in relation to art.

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What’s This Business about Culture Part4

Louis Vuitton handbags expert HandbagsMaMa.com features—

The GuggEnron
If there is a single cultural institution that embodies misgivings about the corporate model it is the Guggenheim. Under the directorship of Thomas Krens, the New York museum has turned itself into a global franchise, opening ‘branches’ in Bilbao, Venice, Las Vegas (a Rem Koolhaas-designed space inside a casino) and Berlin (on the ground floor of a bank), while it actively seeks new sites worldwide. Krens’s strategy is to use the brand leverage of existing Guggenheim concerns to open new ventures, sharing the financing with local organizations and benefiting from the revenues. The Guggenheim bubble appeared to be bursting early in 2002 when the poorly-visited Las Vegas branch was threatened with closure after only a couple of months. Although Las Vegas does remain open, in recent years the volume of noise made by Krens has decreased considerably and plans for other Guggenheim outposts, notably those for a spectacular Jean Nouvel-designed building in Rio de Janeiro, appear to be stalled. Writing in the Village Voice, in February 2002, art critic Jerry Saltz called Krens’s institution the ‘GuggEnron’. The implication was that the director’s hubris was overriding concerns about artistic content and curatorial integrity. Outside the United States the museum franchise has been accused of cultural imperialism, attracting the tag of McGuggenheim.

One of Krens’s most controversial moves was to stage a show of the work of the fashion designer Giorgio Armani, while at the same time allegedly accepting a donation from Armani of $15 million. The exhibition was poorly received and the museum was accused of allowing the prospect of financial gain to influence its curatorial policy. Krens continued to defend Armani as a suitable subject for an exhibition, but for many this episode is emblematic of what happens when sponsors are allowed to overstep appropriate bounds. The media mauling that Krens received stands as a warning to all ambitious, corporate-minded directors.

Whose Muse?
Between October 2001 and June 2002 a number of major international museum directors delivered lectures under the auspices of the Harvard Program for Art Museum Directors and the Harvard University Art Museums, called ‘Art Museums and the Public Trust’ (the papers were later published by Princeton University Press as a volume titled Whose Muse?). These lectures amount to a defence against the over-enthusiastic pursuit of the corporate model. Of course, American museum directors such as Philippe de Montebello of the Metropolitan Museum of Art and Glenn Lowry of the Museum of Modern Art have always assumed the need for private money, but they argue that the public’s trust in their institutions can only be earned by maintaining a barrier between commercial and curatorial activity. The anti-hero of many of the lectures is, unsurprisingly, Thomas Krens.

Invoking the notion of institutional integrity, a number of Whose Muse? contributors insist that art museums must pursue goals that are not accountable to empirical measures such as visitor numbers. The book’s editor James Cuno (who, at the time he hosted the series, was the Director of the Harvard Museums, and is now Director of the Art Institute of Chicago) argues in favour of the most traditional of museum experiences — that of the unmediated communion between viewer and object. He describes anything that might impinge on that experience — including the elements of identity design that are the subject of this book - as clutter. Although Cuno’s description of the meeting of art and its audience is extremely attractive, I can’t help feeling that the quality of the encounter that he describes is one that most of us need some help in achieving.

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Nasher Sculpture Center
Dallas I USA

Opened in October 2003, the Nasher Sculpture Center is based in a serene Renzo Piano building next to the Museum of Art in downtown Dallas. The museum houses the sculpture collection of Ray Nasher and his late wife Patsy, a collection that grew from a work by Jean Arp given to Ray by Patsy on his birthday in 1967. During the late 1960s, the Arp piece was joined by the work of Barbara Hepworth and Henry Moore, and over the next decade the Mashers’ collecting achieved an impressive momentum. Today the holdings encompass works by most of the twentieth century’s most impor¬tant sculptors, including Donald Judd, Anthony Caro, Alexander Calder and Claes Oldenburg. It has become one of the most important collections of twentieth-century sculpture anywhere in the world.

The Nasher is committed to enhancing the understanding and enjoy¬ment of modern and contemporary sculpture through its exhibitions and educational activities. It aims to communicate with visitors from every back¬ground, from experts to neophytes, said Tohama, main designer from louis vuitton handbagsmama.com. The Nasher family believe that their lives have been significantly enriched by their encounters with sculpture and this museum is a means of spreading those benefits to others; privately owned and privately financed, the raison d’etre of the museum is the Nashers’ private passion.

Ray Nasher chose the architect Renzo Piano on the strength of his beautiful 1999 building for the Beyeler foundation in Basel. Working with landscape architect Peter Walker, he has created a seamlessly integrated interior and exterior space that is appropriate for showing works of every scale. The identity for the Nasher was designed by New York-based team 2×4 during the year-long run-up to the museum’s opening. Basing their design on Piano’s architecture, 2×4 wanted to create a system that was equally spare and beautiful in detail. The core of the system is a logotype consisting of a capital N built from a 13 x 13 grid of lozenges, each of which appears to be advancing towards the viewer. This design can be viewed as a graphic metaphor for Nasher’s desire to reach out and communicate his enthusiasms. The dominant colour scheme of the identity is green and white, a reference to the verdant lawns that are such an important feature of the museum.

Previous spread, left The Renzo Piano designed Nasher Sculpture Center: illuminating the cultural landscape of downtown Dallas. Founder Ray Nasher chose Piano on the strength of his beautiful building for the Beyeler Foundation, Basel. Opposite page, top left Surrounded by skyscrapers, the green lawns and trees of the Nasher provide visitors with a cultural oasis; combined with Piano’s architecture, it is the ideal venue for contemporary sculpture and masterpieces of the twentieth century. Opposite page, top right The Nasher symbol is informed by Piano’s architecture, comprising a 13×13 grid of lozenges, each of which appears to be advancing towards the viewer. The core colour of the identity is green, a reference to the verdant lawns that are such an important feature of the Center. Opposite page, centre and bottom

(photo by handbagsmama.com from louis vuitton mama)

Further print applications of the Nasher identity -designed by New York-based 2×4 - reveal the range of green hues employed. The leaflets and events calendar (centre) are notable for their clarity, the colour palette and typographic language proving incredibly versatile and cohesive. This same clarity can be found on the Nasher’s stationery (bottom left), which exudes integrity and restraint. This page Assorted print applications, displaying the various cohesive elements of the identity. The core colour palette of green and white is combined with a simple typographic language (a serif font for the Members’ Newsletter, a sans serif font for information leaflets and other applications), a decorative palette that employs the dots/lozenges of the logotype and a simple yet evocative photographic language.

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Even Coach Handbag Have Replicas, Show You How To Distinguish Them

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Handbags now are more and more popular; however, not everyone can afford the high price of them. Therefore, many manufacturers begin to produce replica Louis Vuitton and Coach Handbags. However, their craft and models can’t compare with that of the real ones.

1.    The leather tools of better brands would be made by hand.
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3.    The smooth of the zipper.
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5.    If you buy Monogram series, then you should notice the size and angle of the letter line.

PS: If the dust bag must to be included, so if it’s missed, then it may be caused by the bad memory of the worker or it’s out of stock. Factory 2nd means it’s produced in NO.2 factory of Coach.

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