Devising and curating an exhibition on
luxury through just over 100 objects
involves intense scrutiny. This becomes
even more evident when considering
that the Musée des Arts Décoratifs,
an institution that has celebrated the
relationship between art and industry
since its founding in 1864, holds over
800,000 objects, many of which embrace
luxury in its endless forms.
As early as the mid-19th century, the
Musée des Arts Décoratifs, then known
as the Union Centrale des Beaux-Arts
Appliqués à l’Industrie, began receiving
donations from prominent industrialists
and collectors. Amassing important
objects from around the world that often
symbolized a country’s cultural success
or perceived technical superiority, the
concept of luxury has resonated within
the collections of the Musée des Arts
Décoratifs since its founding.
Highlighting works that represent the
story of human fascination with beauty,
rare materials, flawless execution and the
transmission of well-guarded techniques
up to the modern day, Luxes at the Musée
des Arts Décoratifs unveils objects from
the ancient world. Objects on display
from this time, for example, include an
Egyptian makeup spoon, a utensil that
symbolized the worship of the divine)
on loan from the Musée du Louvre, the
Boscoreale Treasure recovered from the
aftermath of the ancient eruption of Mount
Vesuvius, and a zoomorphic hedgehog
vase from approximately 3500-3100
BC, the oldest piece in the exhibition.
These artifacts illustrate the archeological
perspective of luxury, where objects were
carefully preserved both intentionally and
accidentally.
While goods such as spices and salts
were considered an extravagance during
the Middle Ages, their proliferation
through global trade centuries earlier
gave rise to the Roman concept of otium,
or simply leisure, heralding a new form
of luxury throughout the Renaissance.
Articles represented from this period
include objects such as a deck of cards,
a backgammon board, then state-ofthe-
art scientific instruments and rare
manuscripts. For instance, in the 16th
and 17th centuries, an arsenal of royal
manufactories were created to facilitate
the extravagant whims and wishes of Louis
XIV and his court, such as Pierre Mangot’s
casket (1532-1533), a silver-gilded box
covered entirely with mother of pearl
plates created by the famed silversmith to
Francis I of France.
Also on display from this era are objects
made by the Japanese art of kintsugi,
which utilizes gold leaf to repair broken
ceramics as a way to record the object’s
history. These pieces are shown
alongside, and perhaps conversely,
opulent gold detailed porcelains from
China. Highlights include a Qilin statuette
(created during the reign of the Qianlong
Emperor), a pot-pourri and a Chinese
pagoda barometer-thermometer (both
from around 1750).
The 19th century brought great creative
and technological progress as displayed
in the era’s World’s Fairs, events of
unprecedented showmanship in Europe,
the United States, and Asia.
The Salon 1900, permanently within the
Musée des Arts Décoratifs, and designed
by George Hoentschel for the Union
Centrale des Arts Décoratifs as part of
the 1900 Universal Exhibition, is a perfect
example of the Art Nouveau style of the
time. During the same period, haute
couture was born when Charles Frederick
Worth revolutionized the very definition
of fashion by creating the blueprint of a
modern fashion house. Additional fashion
and design highlights in the exhibition
include “the little black dress” by Gabrielle
Chanel, the straw marquetry décors of
Jean-Michel Frank, in addition to works by
Hermès, Christian Dior, Louis Vuitton, Van
Cleef & Arpels and Cartier.
A notable display on view within Luxes
is from the famed jewelry, Tiffany & Co.
Designed by American artist Robert
Lauschenberg and Jasper Johns, the
display depicts a wooden dock in the
middle of a landscape, with an opulent
diamond bracelet resting off the dock’s
edge. The vitrine was installed in 1957 at
the Tiffany & Co. Fifth Avenue flagship
store in New York City.
In 2020, exhibiting luxury also means
addressing the realities of the present
day, from the physical preservation of
humanity’s oldest and most cherished
objects to the recontextualization of those
items through the lens of current societal
and political movements.
In the modern, globalized world, luxury is
seemingly determined by the caché of a
brand name or its logo. If some houses
now seem to embody their identity as
the very idea of luxury and owning a
piece of that identity is the consumer’s
endorsement, Luxes poses a rebuttal: to
offer an ancient as well as contemporary
context to understand what makes luxury
one of the most singular and symbolic
features of civilizations.
Substantial, encyclopedic, selective, and
historical, Luxes offers a global survey of
luxury for the first time in Paris.
This exhibition was designed by Nathalie
Crinière Agency and was funded by the
European Confederation of Flax and
Hemp. Additional support is provided
by Comité Colbert, Tasaki, and by the
Friends of the Musée des Arts Décoratifs.