Fans of Louis Vuitton are in for a treat. The fashion house will be bringing its “Time Capsule” exhibition to Kuala Lumpur.
From July 7 to 28, the exhibits offer a visual journey through the history of Louis Vuitton that revisits its landmark innovations in technology and design.
From its beginnings in 1854 to the present day, the story will be told using rare and celebrated objects selected from the archive.
The exhibition will also demonstrate the ways in which Louis Vuitton has anticipated changing needs and desires over the last 160 years.
Before this, the “Time Capsule” exhibition has travelled to Hong Kong, Bangkok, Berlin, Singapore, Dubai, Shanghai, Melbourne, Madrid, Osaka, Los Angeles, Toronto, Jakarta, Taipei and Mexico City.
A Long History
When he was only sixteen years old, the founder, Louis Vuitton, made a decision that would not only change his own life but the lives of his sons and future generations: he would become a trunk-master.
It was in 1837 that a 16-year-old Vuitton arrived in Paris by foot and started apprenticing for a successful box-maker and packer named Monsieur Marechal.
At the time, horse-drawn carriages, boats and trains were the main modes of transportation, and baggage was handled roughly. Travellers thus called upon craftsmen to pack and protect their individual objects.
Vuitton quickly became a valued craftsman at the Parisian atelier. These were the roots of his highly specialised trade that called upon skills to custom design boxes and, later, trunks according to clients’ wishes.
Vuitton stayed for 17 years before opening his own workshop at 4 Rue Neuve-des-Capucines near the Place Vendome. It later led to the 1859 opening of his atelier in Asnieres.
Just northeast of the center of Paris, the workshop started with 20 employees. In 1900, there were nearly 100 people and by 1914 there were 225.
The original atelier has been expanded throughout the decades—including the addition of the Vuitton family residence – but it is still where products are crafted today.
While the family home has been preserved and is part of a private museum, 170 craftsmen work in the Asnieres workshop, designing and creating leather goods and special orders for clients around the world.
Faithful to its heritage, the Louis Vuitton brand has opened its doors to architects, artists and designers across the years, all the while developing disciplines such as ready-to-wear, shoes, accessories, watches, jewellery, and fragrance.
Google the words ‘dyslexia and art’ and among the first images you will find are black and white sketches of cultural icons like John Lennon and Albert Einstein who were afflicted by dyslexia.
The sketches have been in circulation online these last few years, and tend to always figure in discussions on dyslexia.
What most people who use and re-use the illustrations in presentations and forums – among them academics and activists – may not know, however, is that the sketches are the work of Malaysian Vince Low, himself a dyslexic, and that the drawings were part of an awareness campaign here.
Low was working on the campaign – “Dyslexia Couldn’t Stop Me” – in 2013 for Persatuan Dyslexia Malaysia (PDM), when he discovered that, like artist and sculptor Pablo Picasso, also had a problem with words.
The realisation, Low mentions, caused him to put his heart and soul into attempting to generate greater awareness for dyslexia through his work.
“I always had trouble in school with studies, and looking back it was because I’m dyslexic. Thankfully, I had my father, who never gave up on me and who pushed me to finish school, and then to pursue a course and career in advertising,” says Low.
‘It (the festival) allows the children to feel confident with themselves. But more than that, these public events give them a feeling of being accepted by society,’ says Sariah, Persatuan Dyslexia Malaysia president/founder. Photos: The Star/P. Nathan
“Some of my other friends, whom I believe must have struggled with learning disabilities as well, were not so lucky,” he adds.
Dyslexia is a learning disability and affects 3% to 7% of the world’s population. It manifests itself in difficulty in reading due to issues with the brain’s language processing.
“To me, these kinds of events are positive because not only do they get to show people that dyslexics are just as talented as other people, but they also allow children with dyslexia to interact with ‘normal’ people,” says Low.
Low was among the special guests at PDM’s Art Festival 2018 on Sept 8 at National Visual Arts Gallery (NVAG), which was officiated by Mohd Azizul Mohd Sohod, the head of the Education Ministry’s special education section.
“To me, these kinds of events are positive because not only do they get to show people that dyslexics are just as talented as other people, but they also allow children with dyslexia to interact with ‘normal’ people. I think that’s very important,” says Low.
PDM president and founder Sariah Amirin is in agreement, adding that events like this help build the self-esteem of children with dyslexia, many of whom struggle with traditional education.
“It allows them to feel confident with themselves. But more than that, these public events give them a feeling of being accepted by society,” says Sariah.
The association’s art festival has been held annually for over 10 years, with the last three instalments hosted at NVAG and Sariah notes that the gallery’s support has been invaluable.
“For three years in a row we’ve come back to National Visual Arts Gallery thanks to the support of everyone here. It has been very encouraging,” she says.
This year’s festival saw the participation of more than 120 dyslexic children from PDM’s 15 centres and three Dyslexia Genius centres nationwide, with students taking part in drawing and painting competitions and a host of other creative activities.
Low, for one, says he was very impressed with the work he saw on display.
“I think a lot of the children are very creative. I love the results I saw,” he concludes.