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Posts Tagged ‘Louis Vuitton’

Vintage Hotel Labels Live On in World Tour Seven Questions for Author Francisca Matteoli

Labels from the Central Hotel in Nantes, France (circa 1930s) and the Joia Hotel in Sao Paulo (circa 1964). © Louis Vuitton Archives

Remember when travel involved more than clutching bar-coded scraps and wheeling an ugly black case through “concourses”? Neither do we, but just imagine scenes from Titanic (pre-iceberg) and The Talented Mr. Ripley (without the murder)–all crisp kerchiefs, exotic matchbooks, and hotel labels slapped onto sturdy packing cases. Return to the golden age in the gilt-edged pages of World Tour, out this month from Abrams.

Chilean-born, Paris-based travel writer Francisca Matteoli (pictured) draws upon the vintage hotel labels collected by trunkmaker and traveler Gaston-Louis Vuitton (whose grand-père founded the leathergoods juggernaut) as fodder for a 21-city global adventure illustrated by oodles of illustrations, photos, vintage postcards, and more than 900 labels that live on as graphic souvenirs of getaways from Athens to Zermatt. “I realized that a small piece of paper like a simple label can tell a million stories,” says Matteoli. “Stories of woman and men, travelers, adventurers, gangsters, elegant people…and also of history, architecture, art, countries.” She made time between voyages to answer our seven questions about culling down the collection of labels, some personal favorites, and her own choice of luggage.

How did you come to write World Tour?
I was having lunch with Julien Guerrier, editorial director at Louis Vuitton, and I told him about my Chilean great grandfather and my family who always lived in hotels, and about our life in Chile and France…He then told me that Louis Vuitton had a magnificent collection of hotel labels and that we could connect our stories. He knew I liked writing stories, and we thought that it would be a very original way to talk about travel. That is how it all began.

How did you go about narrowing down/selecting the labels to feature in the book?
We wanted mythical hotels that are representative of the golden age of travel, that have a real visual quality–many of the labels are works of art. This allowed me to write not only about labels, but also about life, historical events, and people, because travel is connected with everything in life. We wanted a book that was both a pleasure to look at, and a pleasure to read.

What are some of your favorite labels from the collection of Gaston-Louis Vuitton?
The ones that bring back personal memories. The one of the Hotel Meurice in Paris–so refined, so art déco, because my grandparents liked walking down the rue de Rivoli when they came to Paris, as do the tourists today. The one of the Hotel du Louvre, where I lived with my family when we arrived from Chile. The Savoy Hotel in London–the label is very creative, very modern for its time–because my mother, who is Scottish, used to go to the Savoy when she was young. The Hotel Gloria in Rio de Janeiro, because I lived in Rio, love Rio, and this label is not only historical but also extremely stylish. The Waldorf Astoria in New York, where I have beautiful memories, so chic and a fine example of the architecture of the 50s.
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Biskup, Baseman, Legno and Nakamura at MOCA: Everyone Got a Piece


On Saturday night we scampered downtown to the “@ Murakami” exhibition at MOCA to see UnBeige favorites Gary Baseman, Tim Biskup and Simone Legno in a special evening program. “Pervasive Persuasion” promised a discussion about “how and why artists in Los Angeles are blurring the lines of media,” but the scene was typical of previous Baseman-Biskup events we’d covered: lots of mostly Asian kids waiting in line to get as close as possible to the artists.


Added to this mix was an army of women wearing the uniform of supershort sweater dresses, tights and low-slung belts, toting more Toki Doki Le Sportsac bags than we even knew existed (which Legno patiently signed with Sharpies). Baseman and Legno painted in the middle of the room and posed for pics while Biskup DJed nearby (we appreciated the Rob Base).


Okay, so maybe we should have waited in line with the kids to get a better seat. We’re sure the panel moderated by Giant Robot’s Eric Nakamura was fascinating and informative. But from where we were sitting, only about halfway through the seating, the whole thing sounded more like the grown ups in “Peanuts”: Wawa wah wawa wah wah waaaah. To be fair, the panelists realized the problem and tried holding their clip-on mics in their hands, but it didn’t really help. We did hear the Italian-born Legno say something cute about loving Japanese culture more than the Japanese. We think.


But afterwards, even those who couldn’t hear the artists got some great one-on-one interaction as Biskup, Baseman and Legno–all incredible sports when it came to posing for pics–created art with attendees on a giant mural, which was divided up and handed out at the end of the night. And then Baseman painted on Japanese Butoh dancer Oguri. Yep. More on that at Nakamura’s blog.


The Murakami show, of course, did not disappoint. We saw the new kaikai & kiki film (cute, but we preferred the Kayne West video that preceded it). While we’re whining, however, might we mention another incredibly perplexing decision made by MOCA, on this night specifically focused on how artists have parlayed their work into products (and specifically, purses)? The embedded Louis Vuitton store selling Murakami goods was not open, nor was the gift shop. It was enough to make us want to steal some plates.

More goodness (and lots of toys) by the artists…

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