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奢侈品牌办展览瞄准博物馆

更新时间:2014-7-15 13:56:39 来源:华尔街日报中文网 作者:佚名

Are Museums Selling Out?
奢侈品牌办展览瞄准博物馆

A display of Bulgari jewels in Houston features cases of spot-lit gems, photos of Angelina Jolie and Keira Knightley laden with signature baubles and testimonials about the company's 'shimmering, iconic jewelry.'

一场于休斯敦举办的宝格丽(Bulgari)珠宝展展出了许多光华璀璨的宝石以及安吉丽娜·朱莉(Angelina Jolie)、凯拉·奈特利(Keira Knightley)的大幅照片,照片中的女演员佩戴着宝格丽精巧华贵的配饰,彰显出鲜明的“璀璨经典”风格。

Pretty typical for a jewelry presentation except for one thing: It isn't in a store, but a museum.

这场珠宝展并没有什么特别之处,除了一样:展览举办的地点并不在门店内,而是在博物馆中。

The exhibit at the Houston Museum of Natural Science, 'Bulgari: 130 Years of Masterpieces,' includes slick video and screen displays, hologram-like installations and glowing descriptions of the pieces--all created by Bulgari, which supplied most of the jewels, footed half the bill, and provided the catalog essay.

这场在休斯敦自然科学博物馆(Houston Museum of Natural Science)举办的展览名为“宝格丽:130年间的经典之作”(Bulgari: 130 Years of Masterpieces)。展览的内容包括有关宝格丽珠宝的视频播放、大屏幕展示、全息图像设备的使用以及充满溢美之词的文字描述,宝格丽提供了展览所需的大部分珠宝,支付了半数的费用并撰写了介绍文章。

The timing of the exhibit is also notable. The same week the museum show opened in May, Bulgari unveiled a gleaming makeover of its boutique in a Houston luxury mall. The company brought in experts from Rome to help rebuild the shop, which is partly inspired by the Via Condotti flagship store and features some of the same images of gem-covered movie stars on its walls as the museum exhibit, along with leaflets and window banners advertising the show.

该展览举办的时机也值得关注。就在5月份珠宝展亮相的同一周内,宝格丽在休斯敦一家豪华商场中重新装修的精品店也揭开了帷幕。宝格丽公司特地从罗马请来专家以帮助店铺的重新设计。店面的装修灵感部分来源于宝格丽位于孔多蒂街(Via Condotti)的旗舰店,同时 上还挂上了在珠宝展上展出过一些佩戴珠宝的明星照片,珠宝展的宣传折页和橱窗广告也可以在这里看到。

Exhibits featuring luxury fashion and jewelry brands are increasingly jamming museum calendars. For cultural institutions, the shows offer the potential for a blockbuster that attracts a broader range of visitors, brings in big first-time donors and tours the world. To date, more than one million people have seen a traveling global exhibit about designer Jean Paul Gaultier, what museum experts call a record number for any fashion exhibit.

以奢华时尚和珠宝品牌为主题的展览正在不断挤占博物馆的时间表。对于文化机构来说,这种主题展览可能取得惊人的效果,比如吸引更多参观者、带来众多新买家以及获得全球巡回展览的机会等。到目前为止,设计师让·保罗·高提耶(Jean Paul Gaultier)的全球巡回展览已经吸引了超过一百万人观展,博物馆专业人士称这创下了时尚展览的参观人数纪录。

For luxury companies, museum exhibits are becoming an important new tool in their marketing arsenals. Fashion and jewelry executives have long cultivated museum shows to provide a stamp of legitimacy and a chance to stand out in a crowded marketplace. Now, big brands have gone further, hiring curators to shop shows to museums, spending millions to build their archives for exhibit loans, wooing arts venues in strategic markets and enlisting stores and VIP clients to help secure and promote these shows.

对奢侈品公司来说,博物馆展览正在成为一种举足轻重的新型市场营销途径。长期以来,时尚行业和珠宝行业的高管们一直都在致力于让博物馆展览为品牌带来正当色彩,并在竞争激烈的市场中脱颍而出。目前,各大品牌已经更进一步,聘用策展人向博物馆推销展览,不惜花费重金收集展览所需的珠宝收藏,向艺术机构伸出橄榄枝以获得战略性市场,并借助门店和VIP客户的力量以确保和促成此类展览的进行。

Individual luxury items that boast a museum pedigree can soar in value. A Van Cleef & Arpels art-deco diamond brooch sold for more than $662,000 at Christie's in New York in 2011--more than eight times its high estimate. The sale followed the piece's appearance in 'Set in Style: The Jewelry of Van Cleef & Arpels,' a 2011 exhibit at the Smithsonian's Cooper-Hewitt, National Design Museum that drew record-breaking crowds in New York.

走进博物馆展览的个人奢侈展品很快看到价格的攀升。在佳士得(Christie) 2011年纽约拍卖会上,一枚梵克雅宝(Van Cleef & Arpels)装饰艺术风格的 石胸针拍出了超过662,000美元的价格,超出了此前最高估价的八倍多。这枚胸针在拍卖前曾经亮相于一场名为“别具一格:梵克雅宝的珠宝”(Set in Style: The Jewelry of Van Cleef & Arpels)的展览,这场展览于2011年在史密森尼学会(Smithsonian)旗下位于纽约的库珀休伊特国家设计博物馆(Cooper-Hewitt National Design Museum)举办,打破了参展的人数记录。

'These exhibitions are very, very important for us,' says Nicholas Bos, CEO of Van Cleef & Arpels. 'When clients see some pieces exhibited in the museum that are pretty similar to ones they've bought, it confirms to them that it's a valid choice, and it's a good incentive to add to their collection.'

梵克雅宝的首席执行长尼古拉斯·波斯(Nicholas Bos)表示:“这些展览对我们而言至关重要。当顾客们看到在博物馆展出的某些珠宝与他们购买的珠宝大同小异时,这能让他们坚信购买梵克雅宝的珠宝是一个正确的决定,这也能刺激他们继续在收藏之路上前行。”

The explosion of recent exhibitions featuring fashion, jewelry and other luxury accessories includes shows created with input and money from the featured brands. Chanel curated and paid for the creation of its brand-related exhibits, known as 'Culture Chanel,' which museums and arts institutions went on to stage in Moscow, Shanghai, Beijing and Guangzhou, China. A Chanel spokeswoman says the company sometimes helps cover installation costs at the venues, too. This year, a collector of David Webb jewelry and a major dealer sponsored an independently curated show about the society jeweler at the Norton Museum of Art in West Palm Beach, Fla. An exhibit on Van Cleef & Arpels jewelry that closed earlier this year at the Bowers Museum in Santa Ana, Calif., was curated by a Van Cleef employee with production costs paid partly by the jeweler.

最近一段时期,在大量举办的时尚、珠宝和其他奢侈消费品的展览中,有一些获得了参展品牌资金的赞助。香奈儿(Chanel)就策划和资助了和本品牌相关的一系列展览,即“文化香奈儿”(Culture Chanel)。展览的承办机构有莫斯科以及中国的上海、北京、广州等地的博物馆和艺术机构。香奈儿的一位新闻发言人表示,公司某些时候也会承担展览场所的设展费用。今年,一位大卫·韦伯(David Webb)品牌珠宝的收藏家和一家该品牌的主要经销商赞助了一场独立策展活动,在佛罗里达州西棕榈海滩(West Palm Beach)的诺顿艺术博物馆(Norton Museum of Art)举行展览。一场在加利福尼亚州 安娜(Santa Ana)的宝尔博物馆(Bowers Museum)举办的梵克雅宝珠宝展于今年早些时候刚刚落幕,这场展览是由梵克雅宝的一位员工策划的,梵克雅宝支付了部分展览费用。

Even for shows whose curators or sponsors have little connection to the luxury business, a brand's cooperation is often pivotal. A coming September exhibit curated by the Brooklyn Museum, 'Killer Heels: The Art of the High-Heeled Shoe,' will feature lent pieces from a wide range of established and emerging designers including Manolo Blahnik and Christian Louboutin. (A museum spokeswoman says the show has no confirmed sponsors yet.) Cartier didn't sponsor the Denver Art Museum's new fall exhibit, 'Brilliant: Cartier in the 20th Century,' but it opened its gem vault and various archives to the museum's curator more than a dozen times. The Gaultier retrospective, making its ninth stop this fall in Melbourne, Australia, was originally conceived by the Montreal Museum of Fine Arts without funding by the brand. But its curator, former model Thierry-Maxime Loriot, worked closely with Mr. Gaultier and sought his approval. 'It's his baby, it's my baby,' says Mr. Loriot.

即使对于那些策展者和赞助者与奢侈品行业并无太大联系的展览,品牌的合作也往往至关重要。布鲁克林展览馆(Brooklyn Museum)即将于9月份举办一场名为“骇人高跟:高跟鞋的艺术”(Killer Heels: The Art of the High-Heeled Shoe)的展览,展品借自包括莫罗·伯拉尼克(Manolo Blahnik)和克里斯提·鲁布托(Christian Louboutin)在内的诸多著名或初露头角的设计师。(一位博物馆的新闻发言人表示,该展览还没有获得确定的赞助商。)卡地亚(Cartier)并未资助丹佛艺术博物馆(Denver Art Museum)名为“光华夺目:二十世纪的卡地亚”(Brilliant: Cartier in the 20th Century)的最新秋季展览,但它向博物馆的策展人开放了十几次自己的珠宝收藏室和众多典藏。澳大利亚的墨尔本将成为今年秋季举行的高提耶回顾展的第九站。该展览最初的筹展地是蒙特利尔美术馆(Montreal Museum of Fine Arts),且没有获得该品牌资助。不过,该展览的策展人、前模特悌耶里-马克西姆·洛西奥特(Thierry-Maxime Loriot)是高提耶密切的合作伙伴,展览获得了高提耶的认可。洛斯奥特说:“这场展览是我们双方共同努力的结晶。”

The sheer number of luxury shows today--and the differing levels of corporate involvement for each--have some critics increasingly concerned. While some museums assert complete curatorial control and refuse brand sponsorships, others install exhibits with major corporate involvement, and varying degrees of disclosure about that relationship.

当下,针对奢侈品展览数量激增以及奢侈品公司或多或少牵涉其中的问题,批评之声不断增加。尽管一些博物馆坚持完全策展的原则,并婉拒品牌赞助,但是,其他博物馆在策展时得到了公司的大力参与,而各个博物馆就合作关系的披露程度各不相同。

'Nobody ever said museums are pure, but at least there's an element of public trust that when you go to a museum, what you're seeing is museum worthy,' says Bruce Altshuler, director of New York University's Program in Museum Studies. 'The widespread exhibiting of luxury-brand goods erodes that trust.'

纽约州立大学(New York University)博物馆研究专业(Museum Studies)主任布鲁斯·阿特舒勒(Bruce Altshuler)表示:“从来没人要求博物馆必须不食人间烟火,但是当参观者走入博物馆时,他们至少对博物馆寄予了一些信任,也就是说参观博物馆是值得的。”阿特舒勒还表示:“随处可见的奢侈品展览正在蚕食着这份信任。”

Other museum professionals argue that some of these exhibits cede too much control over content.

还有一些博物馆专业人士认为,某些奢侈品展览对于展览内容的控制过于松懈了。

'When the company is the curator, it's the appearance of a conflict that we stay away from,' says Alex Nyerges, director of the Virginia Museum of Fine Arts, where officials recently rejected a proposed exhibit about a movie remake because it seemed too promotional. 'The notion that we may be in bed with a commercial venture in a less than appropriate fashion--it's not worth it.'

弗吉尼亚美术馆(Virginia Museum of Fine Arts)馆长亚历克斯·尼耶格斯(Alex Nyerges)表示:“当企业成为策展人时,一定会出现冲突,而这正是我们想要避免的。”最近,弗吉尼亚美术馆拒绝了以某部翻拍电影为主题的展览提议,因为这场展览看上去市场推广的意味太浓厚了。”尼耶格斯说:“我们犯不着让人产生这样的想法,就是我们可能不那么光彩地与商业机构纠缠在一起。”

Many museum curators say luxury exhibits featuring work by living designers are no different from art exhibits featuring living artists. Why is it a conflict to work with a wildly creative couture or jewelry house, they ask, when the economic benefits from museum shows could be even greater for fine artists? In the end, they say, the only thing that matters is quality.

很多博物馆策展人表示,以仍然在世的设计师的作品为主题的奢侈品展览,与展出仍然在世的艺术家的作品并无大异。他们反问,在艺术家举办博物馆展览所获经济效益更大的条件下,为什么在博物馆与体现创意的服装和首饰公司合作就会产生矛盾呢?许多博物馆策展人表示,归根结底,唯一重要的就是品质。

'The hunt for conflict of interest is irrelevant to the museum visitor--the exhibition stands or falls on the strength of the artistry of the material displayed,' says Gary Tinterow, director of the Museum of Fine Arts, Houston. As the former head of the Metropolitan Museum of Art's modern art department in New York, Mr. Tinterow was an early supporter of a widely debated show about a jeweler known as JAR. 'I've worked with lots of living artists, I've worked with dead artists--there are always interests at stake.'

休斯敦美术馆(Houston Museum of Fine Arts)馆长盖瑞·丁德罗(Gary Tinterow)表示:“观展人与寻找利益冲突毫不相干—展览的成败在于展品的艺术性。”丁德罗此前曾经担任纽约大都会艺术博物馆(Metropolitan Museum of Art)现代艺术品部门的负责人,他也是珠宝商JAR举办展览的早期支持者,该展览当时备受争议。他表示:“我曾经与许多在世的艺术家合作过,我也曾经与许多离世的艺术家合作过—任何展览都存在着利益冲突的风险。”

With stepped-up competition from rivals, fashion and jewelry labels are investing heavily in museum outreach. In 2011, Chanel hired a former curator at the Louvre in Paris, Emmanuel Coquery, to head its 'patrimony department,' which is responsible for compiling heritage pieces that can be shown in museums. The company, which opened a sprawling new space for its archives outside Paris last year, uses its Culture Chanel shows to demonstrate the art world's influence on the brand, a spokeswoman says. The shows display paintings, photographs, archival materials and other objects next to Chanel pieces such as the little black dress, jewelry or perfume. The company's biggest Culture Chanel show opens in Seoul this summer.

随着市场竞争的加剧,时尚和珠宝品牌纷纷在博物馆展览上投入巨资。2011年,香奈儿聘请了巴黎卢浮宫的一名前任策展人以马利·科克里(Emmanuel Coquery)担任公司“历史传承”部门的负责人,该部门的职责是收集能在博物馆中展出的典藏珍品。香奈儿的一名新闻发言人表示,公司去年在巴黎郊外开设了一个面积巨大的用以收集香奈儿历史珍品的空间,并通过“香奈儿文化”展览展示艺术界对香奈儿品牌的影响力。在展览中,展品包括绘画、照片、典藏品以及香奈儿的杰作,比如小黑裙、珠宝和香水。该公司最盛大的一场“香奈儿文化”展将于今年夏天在首尔开幕。

Christian Dior has been busy, too. 'The last five years have been very rich ones for the house of Dior when it comes to exhibitions,' Sidney Toledano, president and CEO of Christian Dior Couture, said in an email.

克里斯汀·迪奥(Christian Dior)也在积极采取行动。克里斯汀·迪奥服装设计公司的总裁兼首席执行长西德尼·托莱达诺(Sidney Toledano)在一份电子邮件中称:“在过去五年中,迪奥公司在展览上取得了巨大的成功。”

Dior works closely with museums to place its fashions alongside art in a series of themed exhibits with names like 'Inspiration Dior' and 'Esprit Dior.' The company, which collaborates with external curators for the shows, declined to discuss the funding arrangements for these exhibits.

迪奥公司在与博物馆的通力合作下,推出了一系列时尚艺术主题展览,这些主题展览包括“迪奥灵感”(Inspiration Dior)和“迪奥才情”(Esprit Dior)等。这些展览是迪奥公司与外部策展人士合作推出的,该公司拒绝透露对这些展览的资助情况。

In 2011, a Dior show at Moscow's Pushkin Museum paired haute couture pieces with paintings by masters like Pablo Picasso and Henri Matisse; a show at Shanghai's Museum of Contemporary Art last year presented an Alberto Giacometti sculpture next to dresses from Raf Simons's first haute-couture collection for Dior. Attempts to reach the two museums were unsuccessful.

在2011年,迪奥在莫斯科普希金美术馆(Moscow's Pushkin Museum)举办了一场展览。在展览上,巴勃罗·毕加索(Pablo Picasso)和亨利·马蒂斯(Henri Matisse)的大师级杰作摆在了迪奥高级订制服装的旁边;去年,在上海当代美术馆(Museum of Contemporary Art)举办的一场展览上,一座艾伯特·贾科梅蒂(Alberto Giacometti)创作的雕塑搭配的是拉夫·西蒙(Raf Simons)为迪奥设计的第一批高级订制女装。记者多次尝试与上述两家博物馆联系但均未获成功。

The venues in growing luxury markets like Russia and China aren't accidental. Bain & Co. says Chinese consumers make up nearly 30% of the global luxury market. Russia ranks third in the number of the world's billionaires, according to Forbes. 'The country and city are chosen firstly for strategic reasons, based on the markets in which we want to focus our communication,' said Mr. Toledano, adding that sometimes museums approach Dior to initiate a show.

展览设在俄罗斯和中国这样不断壮大的奢侈品市场并非偶然。贝恩咨询公司(Bain & Co.)称表示,中国消费者的购买力占全球奢侈品市场的近30%。根据《福布斯》(Forbes)公布的数据,俄罗斯亿万富翁的总数在全球排名第三。托莱达诺表示:“在选择承办展览的国家和城市上,战略性因素是首先考虑的问题,这都是基于我们希望扩大影响的市场而决定的。”他还补充到,有些时候博物馆反而会主动接洽迪奥来启动展览。

The Bowers Museum in Santa Ana, Calif., chose to have its 2013-2014 Van Cleef & Arpels show curated by the company's 'heritage director' Catherine Cariou, who joined Van Cleef in 2000 after working in French auction houses. Museum President Peter Keller said it made sense to have Ms. Cariou curate because of her access and expertise. 'She's in charge of the foundation archives--she knows the collection better than anyone, ' he said. The museum's budget is too small to cover in-house curators so all shows are guest curated.

位于加利福尼亚州 安娜的宝尔博物馆选择了凯瑟琳·卡里奥(Catherine Cariou)作为该博物馆2013-2014年度梵克雅宝展览的负责人,卡里奥于2000年加入梵克雅宝,此前她曾经就职于多家法国拍卖公司。宝尔博物馆的馆长彼德·凯利(Peter Keller)表示,鉴于卡里奥拥有的资源和经验,选择她作为展览负责人合情合理。他说:“卡里奥是典藏档案的负责人—她比任何人都了解梵克雅宝的藏品。博物馆的预算很少,无法承担聘请驻馆负责人的费用,所以所有的展览都聘请了客座负责人。

The show opening at the Bowers coincided with the expansion of a Van Cleef boutique in nearby Costa Mesa, Calif. Although the Bowers noted the store unveiling in its media materials, Mr. Keller says he planned the show well in advance of the store renovation. He calls the museum's efforts on behalf of the boutique too minor to qualify as marketing: 'Just because it's in a press release? How many people read a press release?'

宝尔博物馆的梵克雅宝展览刚好赶上了加利福尼亚州科斯塔梅萨(Costa Mesa)梵克雅宝精品店的开业。尽管宝尔博物馆在媒体材料中提及了精品店开幕的事宜,但是凯利表示,他早在精品店装修之前就已经筹备本次展览了。他认为博物馆为精品店开业所做的努力非常微不足道,以至于不能称其为市场营销:“就因为博物馆为此出了新闻稿?又有多少人读过新闻稿呢?”

A Bulgari exhibit that opened at the Grand Palais in Paris in late 2010 was a private event staged by the company rather than a project organized by independent curators, a distinction that might have been lost on the general public at the time, says Grand Palais chief curator and exhibitions director Laurent Salomé. The Grand Palais is considering changes to make it clearer to audiences when private interests are at work, he adds: 'Bulgari was maybe the big problematic exception.'

巴黎大皇宫(Grand Palais)的首席策展人与展览负责人劳伦·萨洛美(Laurent Salome)表示,宝格丽于2010年年底在巴黎大皇宫举办的展览是一场由公司赞助的私人活动,而不是由独立策展人筹划的项目,那时公众可能还看不出这两者的区别。巴黎大皇宫正在考虑做出调整,以便让公众更清晰地了解涉及私人利益时的状况,他补充到:“宝格丽可能是最存疑的例外。”

The line between retail promotion and museum exhibits has become increasingly blurred. For this year's exhibit on the society jeweler David Webb, the Norton Museum of Art employed the same architect and designer who worked on the brand's Manhattan flagship location to design the galleries for the Florida museum show, too.

零售促销和博物馆展览之间的界限已经变得越来越不清晰了。今年,为了给上流社会珠宝品牌大卫·韦伯举办展览,诺顿艺术博物馆也特别聘请了设计该品牌曼哈顿旗舰店的建筑师和设计师来担当本次展览画廊的策展人。

'We wanted people who were accustomed to creating luxe interiors,' says Norton deputy director James Hall. Designer Katie Ridder says she used the same color scheme for the interiors and velvet for the display cases as she did for the Madison Avenue boutique: 'I think it definitely has a similar feeling as the store.'

诺顿艺术博物馆的副总监詹姆斯·霍尔(James Hall)表示:“我们希望聘请的是能够熟练创作出奢华风格的室内装饰的人。”设计师凯蒂·里德(Katie Ridder)表示,她使用了与麦迪逊大街精品店相同的内饰色彩基调和展示柜天鹅绒:“我认为,展览的感觉和精品店非常相似。”

The exhibit was first proposed by the husband of a board member who collects David Webb's jewelry and was partly funded by that couple, Mr. Hall says. A major local dealer of David Webb jewelry also paid for the show. The exhibit, assembled by a freelance curator, was chosen because of the strength of the pieces and the jeweler's connections to Palm Beach, says Mr. Hall, adding that he doubted the show increased the market value of the jewelry.

霍尔表示,该展览最初是由一位董事会成员的丈夫提议的,这位先生是大卫·韦伯珠宝的收藏者,展览的部分资助也来自这对夫妇。一家大卫·韦伯珠宝的当地主要经销商也为展览支付了一定的费用。霍尔表示,大卫·韦伯珠宝展是由一位自由策展人策划的,该展览得以举办一方面是由于该品牌珠宝品质精良,另一方面是由于该品牌与棕榈滩之间千丝万缕的联系。霍尔还称,他并不确定该展览提升了该珠宝品牌的市场价值。

The American Alliance of Museums guidelines on exhibition ethics don't specifically address brand-themed shows, and, regardless, all of its suggestions are voluntary. Most museums write their own institutional codes of ethics and are subject to local, state and federal laws and international conventions governing nonprofits.

美国博物馆联盟(American Alliance of Museums)关于展览道德规范的指导性原则并没有特别就品牌主题展览做出规定,不管怎样,该联盟的所有的建议都并非强制性的。大多数博物馆都起草了自己的机构道德规范,并同时遵从当地、本州和联邦法律以及管理非盈利组织的国际公约。

At the Bulgari exhibit at Houston's Museum of Natural Science one recent afternoon, images of bejeweled stars such as Jennifer Aniston and Jessica Alba flashed on screens. A former cast member from 'The Real Housewives of Beverly Hills,' Camille Grammer, perused the vitrines with her Louis Vuitton purse slung over her Chanel jacket. Cocktail music tinkled in the background.

在休斯敦自然科学博物馆举办宝格丽展览期间的一个下午,佩戴珠宝的影星如珍妮佛·安妮斯顿(Jennifer Aniston)和杰西卡·阿尔巴(Jessica Alba)参与了媒体宣传活动。曾经出演《比佛利娇妻》(The Real Housewives of Beverly Hills)的演员卡米尔·格兰莫(Camille Grammer)也身穿香奈儿夹克、斜挎LV包细细浏览了展柜。活动的背景音乐是鸡尾酒音乐。

Two people familiar with the exhibition planning say a staffer from Houston's Bulgari boutique made the initial overture to the museum in 2012. Joel Bartsch, the museum's president, and Alberto Festa, president of Bulgari North America, say they can't quite remember who initiated negotiations over the show.

两位熟悉展览筹备的人士表示,休斯敦宝格丽精品店的一位员工于2012年最先向自然科学博物馆做出了展览提议。博物馆馆长乔百齐(Joel Bartsch)以及宝格丽北美总裁阿尔贝托·费斯塔(Alberto Festa)表示,他们记不太清是谁发起提议的了。

Bulgari officials eventually made a presentation to Mr. Bartsch, suggesting ways a recent Bulgari exhibit at the de Young museum in San Francisco could be retooled for Houston. He was impressed.

宝格丽的管理人士最终向乔百齐做了一次陈述,建议宝格丽最近在旧金山笛洋美术馆(de Young museum)的展览形式可以移植到休斯敦的博物馆。乔百齐被打动了。

'They had done their homework,' he says, adding that the Bulgari team was familiar with the museum's gem collection and its commitment to jewelry exhibits.

乔百齐表示:“他们提前做好了准备。”他还补充到,宝格丽团队很熟悉博物馆的宝石收藏以及举办珠宝展览的决心。

Houston socialites soon were helping with loans to the show. Joanne King Herring, a political activist and widow of a natural-gas tycoon, volunteered her Bulgari sautoir necklace with scores of diamonds, a piece she spotted in a window of New York's Pierre hotel in the 1970s. 'My husband said, 'Well, do you want that or the state of Rhode Island?'' she recalls.

很快,休斯敦的上流社会便开始帮忙筹集展览所需的款项了。政治活跃人士、已故天然气巨头的妻子乔安娜·金·赫林(Joanne King Herring)主动拿出了自己镶有众多 石的宝格丽项链参展,她于上世纪70年代在纽约皮埃尔酒店的橱窗内最初看到这条项链的。她回忆道:“我丈夫问我,‘喔,你是想买这条项链还是罗德岛?’”

People with knowledge of the Bulgari negotiations say the museum exhibit was the main impetus for the Houston store's makeover. Workers toiled all weekend to get the boutique ready for the show's debut, one person said. Mr. Festa says the timing was coincidental and largely due to the expiration of the shop's 10-year lease and its outdated design.

了解宝格丽展览协商事宜的人士表示,博物馆展览是休斯敦精品店装修的最主要动力。一位知情人士表示,工人们整个周末都在打理精品店,以准备其在展览上的亮相。费斯塔表示,时间上的吻合是一种巧合,这在很大程度上是出于精品店10年期租约的结束加上其装修有些陈旧的原因。

For the exhibit openings in Houston and San Francisco, Bulgari boutiques in those cities were supplied with stacks of tickets so employees could offer VIP customers and foreign visitors tours of the galleries, according to people familiar with the exhibits. In some cases, the shop set up appointments ahead of time so that visitors could go straight from the museum to the store, one person said.

据展览知情人士表示,对于在休斯敦和旧金山举办的展览开幕活动,这两个城市的宝格丽门店都被发放了一定数量的门票,以便员工向VIP客户和外国游客提供画廊参观服务。一位知情人士表示,在某些情况下,门店会提前预约时间,以便游客可以直接从博物馆来到门店中。

Mr. Bartsch, a gems expert, says the exhibit's aim is educational: 'This is about the design and quality of the stones, with a connection to natural history and the technology that goes into making the pieces,' he says. 'One of the major points is that these pieces are not for sale and are not going to be for sale. This is a historical retrospective exhibition.'

宝石专家乔百齐表示,举办展览本着教育性的目的,他说:“展览的主题围绕着设计以及宝石的品质,同时与自然历史以及宝石加工技术相关。”他还表示:“最重要的一点是,这些展品现在是、未来也是非卖品。这是一次历史回顾展览。”

Bulgari, an Italian jewelry company purchased in 2011 by Paris-based luxury conglomerate LVMH Moët Hennessy Louis Vuitton, started its push for exhibitions five years ago with a 600-piece show at a cultural center in Rome. The next year, Bulgari rented the Grand Palais in Paris for an exhibit. Bulgari shows followed in Beijing and Shanghai, and Mr. Festa says China is interested in more.

意大利珠宝品牌宝格丽于2011年被总部位于巴黎的奢侈品集团路易威登集团(LVMH Moet Hennessy Louis Vuitton)所收购,该珠宝品牌五年前在罗马推出了首次展览,在某文化中心举办的展览展出了600余件展品。随后一年,宝格丽租下了巴黎大皇宫作为展览场地。此后,宝格丽将展览带到了北京和上海,费斯塔表示,中国有意举办更多的展览。

'Clearly now there are going to be more exhibitions world-wide, which is an initiative of LVMH,' says Amanda Triossi, an independent curator who created Bulgari's heritage collection and helped develop many Bulgari museum exhibits.

独立策展人阿曼达·特廖西(Amanda Triossi)表示:“显而易见,更多的展览将在全球举办,这也是路易威登集团的想法。”特廖西创立了宝格丽的古董典藏系列并帮助策划了数场宝格丽博物馆展览。

In recent months, Bulgari executives have approached the High Museum of Art in Atlanta, the Perez Art Museum Miami as well as institutions in Dallas and Chicago to lobby for shows featuring its jewelry archive, says Mr. Festa, adding: 'I approached other institutions in the country mainly where we have stores.'

费斯塔表示,在最近几个月中,宝格丽的管理层已经与亚特兰大高等艺术博物馆(High Museum of Art in Atlanta)、迈阿密佩雷兹艺术博物馆(Perez Art Museum Miami)以及达拉斯和芝加哥的机构展开了接洽,以在博物馆中推广以珠宝历史为主题的展览。费斯塔还表示:“我已经联系了美国一些其他机构,这些机构大多位于宝格丽设有门店的城市。”

For more than a decade, Bulgari has been buying back its collection of archival jewelry--the pieces often displayed in museum shows--including nabbing more than $20 million worth of Elizabeth Taylor's jewelry at a Christie's sale in 2011.

在过去十几年的时间里,宝格丽一直致力于回购本品牌典藏系列的珠宝—在博物馆展览中经常可以看到这些藏品的身影—其中包括2011年在佳士得拍卖会上竞价2,000万美元拍得的伊丽莎白·泰勒(Elizabeth Taylor)的珠宝。

People familiar with Bulgari's business practices say that while archival pieces aren't for sale, customers can ask the company to create a custom-made piece that draws inspiration from the original as long as it is valued at $50,000 or sometimes more.

熟悉宝格丽商业行为的人表示,尽管典藏珠宝不对外发售,但是顾客可以要求宝格丽为他们定制灵感来源于藏品的珠宝,条件是定制珠宝的价格在50,000美元以上,这个标准有时更高。

For Ms. Grammer, who paused in the Houston show to stare at a 1967 necklace with emeralds, rubies, sapphires and diamonds, the exhibit renewed her love for the brand. She owns two Bulgari pieces, gifts from her ex-husband, the actor Kelsey Grammer. 'People have questioned me, 'Why would you wear anything your husband gave you after the divorce?'' she says. 'Why wouldn't you? They're works of art.'

对于格兰莫女士来说,休斯敦举办的展览加深了她对宝格丽品牌的喜爱。在展览上,她停下脚步仔细欣赏着一件制作于1967年,镶嵌有祖母绿、红宝石、蓝宝石以及 石的珠宝。格兰莫女士拥有两件宝格丽珠宝,这两件珠宝均来自她的前夫、演员凯尔希·格兰莫(Kelsey Grammer)的赠予。她说:“人们曾经问我,‘你为什么会在离婚后佩戴前夫送给你的珠宝?’”她的回答是:“为什么不呢?它们可是艺术的瑰宝。”

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