Masters LV x Koons 2017 Collaboration

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Now that pictures of the items are coming out, I wonder how many people will actually fall in love with the collection after hating the stock photos.
I'm still not feeling it. It's not as horrendous as when i first clapped eyes on them. Some are certainly better than others. I dunno maybe because I feel they're a bit on Disney esque side. The flower handle bits, the bunny rabbit, big letters and the bright trim colours . Feels a bit like a collab with Disney if I'm honest :-s
 
I wonder what LV will do when buyers start complaining that the inside writing starts to peel/flake off or the writing on the outside tab. And with all the major problems with colored leather on many Neverfull bags will these hold up?

I also still think these bags scream tacky. Sorry and not meant to insult those who bought them and love it. EVeryone has their own taste and this line is not for me. Yet they will always have a huge audience because LV made them.
It will be interesting if the Hollywood crowd jumps on the hype and carries these bags as a must have bag like many have done with previous LV Limited Editions.
 
Anyone still remembers Richard prince collection from many years ago ? I used to think those are weird designs and never understand them.

Fast forward two years ago I saw someone carries one at a busy airport. I spotted it straight away thinking that it is a very cool looking bag. Only to find out at a close loook that the bag is actually from LV Richard prince collection.

Well this Masters collection reminds me of that feeling.
 
Hello. Sorry for very bad English. I do not understand all write. This, my new Van Gogh pouch. I like the shape specially created for this collection. And I love the new chain created as a jewel, but it is too short for a shoulder, I would take the chain of a pouch Felicie ... I would have liked the Keepall Vang Gogh but not in my budget for The moment ...
 

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Hello. Sorry for very bad English. I do not understand all write. This, my new Van Gogh pouch. I like the shape specially created for this collection. And I love the new chain created as a jewel, but it is too short for a shoulder, I would take the chain of a pouch Felicie ... I would have liked the Keepall Vang Gogh but not in my budget for The moment ...

Congratulation! It is so lovely [emoji7][emoji173]️
 
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Hello. Sorry for very bad English. I do not understand all write. This, my new Van Gogh pouch. I like the shape specially created for this collection. And I love the new chain created as a jewel, but it is too short for a shoulder, I would take the chain of a pouch Felicie ... I would have liked the Keepall Vang Gogh but not in my budget for The moment ...

This so so beautiful !! Can you please post a modelling photo or what can fit inside please ?
 
Hello. Sorry for very bad English. I do not understand all write. This, my new Van Gogh pouch. I like the shape specially created for this collection. And I love the new chain created as a jewel, but it is too short for a shoulder, I would take the chain of a pouch Felicie ... I would have liked the Keepall Vang Gogh but not in my budget for The moment ...
Amazing pictures, thank you for sharing!
 
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A great read from haaretz.com.

Jeff Koons' and Louis Vuitton's Unstoppable Fashion Terrorism
By appropriating classic works by Van Gogh and Da Vinci, the U.S. pop artist has turned the luxury bag brand into the ultimate counterfeiter
Avshalom Halutz
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In Woody Allen’s 2000 comedy “Small Time Crooks,” a British art dealer played by Hugh Grant tries to figure out the nouveau riche Frenchy (Tracey Ullman) by asking this loud, louche woman – who struck it rich in a shop that was supposed to be a cover for a bank robbery – what kind of artists she likes. “Rembrandt, Picasso, Michelangelo,” she responds. “You know, the boys.”

One wonders if this scene wasn’t echoing in the mind of American pop artist Jeff Koons when he imagined potential customers for the new line of bags he created for French fashion house Louis Vuitton. The “Masters” collection features very familiar paintings by Vincent Van Gogh and Leonardo da Vinci, as well as works by Rubens, Titian and Jean-Honoré Fragonard.

The reproductions of masterpieces like Da Vinci’s “Mona Lisa” and Rubens’ “The Tiger Hunt” on the bags are embellished by large, shiny metallic letters bearing the names of the artists – who overnight have become new, desirable brands in their own right.

The face of the Mona Lisa, repeated ad nauseam on bags of various sizes, has a hard time sneaking in her famous smile under the fashion house’s logo (and that of Koons himself) – one on her forehead, another on her chin, her eyes floating above the giant “DA VINCI” adorning her cheeks, like a headline on a magazine turning her into just another model.

The final product is so over-the-top, it exposes in all its detail the mechanism that underlies our obsessive consumption of luxury goods. The use of works of art that have already become cliched images, like Van Gogh’s “Wheat Field With Cypresses,” seems mostly like a joke at the expense of consumers willing to shell out thousands of dollars for a hollow status symbol. (A Van Gogh “Keepall 50” bag is yours for only $4,000.)
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The manipulation that Koons has created, together with a fashion house that is synonymous with extreme capitalism and conspicuous consumption – and which has long been associated with the worldwide trade in knockoffs – chimes with the spirit of the times: of the elites who protest about fake news, while they themselves labor over the creation of alternative facts; of entire industries built on copying and replication instead of creating something new; the blurring of hierarchies and a reality that is disappearing in the face of the virtual, the airbrushed and the ersatz.

Koons went a step beyond postcards, cloth bags and umbrellas festooned with art prints – the usual preserve of museum gift shops worldwide. Using the ultimate consumer product, a Louis Vuitton bag, he has created “ultra-merchandise,” sold in a souvenir store bereft of memories. The museum and the visit to it have become superfluous.

But Koons also offers a double form of redemption: for the fashion house, which instead of continuously fighting off the tireless swarm of Eastern counterfeiters who flood the market with cheap, monogram-covered copies, can now declare itself the greatest counterfeiter of them all; and also, by appropriating the “Mona Lisa” and using her as raw material for his product, Koons permits the painting to be reborn. It is no longer a simulation or an idea, but, at last, a tangible product, existing in a reality in which nothing is more important than the luxury bag hanging from one’s arm.

What do you think of the collection fabuleux?
 
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