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The collection of the Fondation Louis Vuitton does not aim for the objectivity and exhaustiveness of a public collection. Rather, it aims to share the emotions and questions provoked by certain works whose power to "break the rules" reinvents a relationship with the world. To do so, it is naturally organized around sensitive lines that draw four directions: Contemplative, Popist, Expressionist, Music and Sound.

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The museum honors a little-known piece from its collections, Auguste Rodin'sÉtude de robe de chambre pour Balzac. Based on a selection of sculptures from the museum's collections, 19th-century fashion pieces from the Palais Galliera and previously unpublished archives from the library of the Institut de France, the exhibition reveals an investigation into Rodin's search for a body for Balzac. Taking as its starting point the process of creating the Monument à Balzac, the exhibition invites a wider reflection on the evolution of representations of the body in the public space.

Chosen by the Société des Gens de Lettres in 1891 to sculpt a monument to Balzac, Auguste Rodin embarked on a quest for the novelist who had been missing for almost half a century: the stages of this investigation will be retraced throughout the exhibition. Rodin then set himself the challenge of embodying Balzac in clay and plaster for four years. The exhibition follows the sculptor's path towards the idealization of the body, and ends with a confrontation between the statue of Balzac and a work by contemporary sculptor Thomas J. Price depicting an anonymous black woman in jogging pants, symbolizing a new diversity in 21st-century public statuary.

Bringing together for the first time over 200 of the Italian fashion house's creations, the exhibition traces the aesthetic itinerary of Domenico Dolce and Stefano Gabbana's designs. This Paris edition follows on from the one held at the Palazzo Reale in Milan.

Through ten immersive rooms covering 1,200 m2, the tour highlights the various elements of Italian culture that nourish the creations of the two couturiers: the history of Italian art, architecture, craftsmanship, regional cultures, music, opera, ballet, cinema, folk traditions, theater and of course - "la dolce vita". The exhibition will also showcase original works by contemporary artists in dialogue with the world of the fashion house.

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The exhibition explores the influence of the art world and contemporary creation on the world of fashion, through the history of decorative styles, crafts and ornamentation. Throughout the galleries and rooms of the Objets d'art department, 65 contemporary silhouettes, accompanied by some thirty accessories, will be deployed in a historical and poetic dialogue with the department's masterpieces, from Byzantium to the Second Empire.

The tour offers a different way of looking at objets d'art through the prism of contemporary designers' eyes. It highlights the close links between the collections of the Objets d'art department and fashion pieces. In terms of the history of art and fashion, complicities often involve shared methods, knowledge of the oldest techniques, visual culture and a play on references.

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This spring, Galerie MR8, located in the Marais district of Paris, is dedicating a photo exhibition to the iconic David Bowie. Having passed away on January 10, 2016, the British artist continues to haunt, fascinate and influence pop culture to this day.

In London, on the other side of the Channel, a center dedicated to the singer is due to open its doors in September 2025. Visitors will be able to discover, on a permanent basis, over 90,000 objects linked to David Bowie. In Paris, fans of the British artist are not left out. From Saturday March 22 to Sunday June 22, 2025, an exhibition dedicated to the chameleon will take up residence in a Parisian gallery nestled in the Marais district.

Entitled " David Bowie, Mr Jones' Long Hair ", and presented for the first time in Paris, this exhibition will bring together around 100 photographs (some of which have never been seen before), focusing on fashion, cinema, literature, music, theater and painting.

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The exhibition presents a selection of some 70 pieces of jewelry worn on stage from the second half of the 19th century to the present day, many of which are held in the collections of the BnF. Enriched by costume and set models, photographs, paintings and posters, the exhibition first explores their dramaturgical role, making them essential to understanding the plot by emphasizing issues of power or seduction. It then shows how changes in usage, techniques, fashions, aesthetics and staging have affected their ability to represent theatrical illusion.

Designed to be worn by artists during opera or ballet performances, the jewelry is imagined by costume designers and executed by artisans, integrated since 1972 into the workshops of the Paris Opera. Working in non-precious materials such as brass, glass or rhinestones to imitate gold, precious stones or diamonds, they are nevertheless crafted with a skill and care worthy of haute joaillerie. This is one of the reasons why these stage jewels, some of which have been worn by the greatest names in opera and choreography such as Célestine Galli-Marié, the creator of Carmen, Maria Taglioni, one of the first dancers to wear pointe shoes, and Ida Rubinstein, are now preserved at the Paris Opera Library-Museum.

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From the Maghreb to Japan, via the countries of the Middle East, India and China, the exhibition traces the thousand-year history of gold in the textile arts. As early as the fifth millennium BC, gold was used to embellish the first luxury fabrics. In the centuries that followed, skilled weavers and craftsmen deployed ingenious techniques to create veritable art fabrics, where silk or linen fibers intertwined with gold threads and blades, combining artistic creation, traditional know-how and technical inventions.

From the first ornaments sewn onto the garments of the deceased to the flamboyant gowns of Chinese fashion designer Guo Pei, from the gold-embroidered caftans of the Maghreb and the Orient and the silks of the Indian and Indonesian worlds to the glittering kimonos of the Edo era, the exhibition takes visitors on a journey through gold in two historical and technical sections and five sections corresponding to five major geographical and cultural areas.

Co-founder of Cubism, and considered the father of modern art, Pablo Picasso dedicated his work to questioning the perception of reality, challenging all the artistic canons of his time and shaking up the academic codes he mastered to perfection. This retrospective, projected onto the walls of the Atelier des Lumières, invites us to observe the various techniques the artist explored: engraving, sculpture, paper and glue, assemblages, folding and ceramics.

This exhibition pays tribute to the Roman artist Artemisia Gentileschi (1593 - circa 1656). One of the few female artists of the modern era to have achieved international fame during her lifetime, and to have been able to make a living from her painting, Artemisia Gentileschi was a protagonist of Caravaggesque painting. Through some forty paintings, this exhibition highlights her role in the history of 17th-century art.

Her initial training with her artist father Orazio, as well as the strong impact of Caravaggio, will be highlighted in the exhibition. If her work is difficult to separate from that of her destiny (she was raped in her youth and suffered the mysoginous violence of the ensuing trial), her work - a reflection of her experiences and her resilience - is nonetheless universal. The painter draws her inspiration from biblical and literary themes to highlight feminine heroism, which she portrays with a rare empathy. An important part of the exhibition will be devoted to the symbolic duel of Eros and Thanatos, crucial to Baroque art and culture.

The Fondation Louis Vuitton invites David Hockney, one of the most influential artists of the XXᵉ and XXIᵉ centuries, to take over its entire exhibition spaces. This presentation of over 400 works from 1955 to 2025 brings together, in addition to a major collection from the artist's studio and his foundation, loans from international, institutional and private collections. The artist personally oversaw the design of each sequence and each room, in an ongoing dialogue with his assistant Jonathan Wilkinson.

The exhibition brings together works in a wide variety of techniques - oil and acrylic paintings, ink, pencil and charcoal drawings, as well as digital works and video installations. David Hockney was totally involved in the production of this exhibition. In collaboration with his companion and studio manager, Jean-Pierre Gonçalves de Lima, he chose to focus the exhibition on the last 25 years of his work, without omitting the "mythical" works from his early years, thus offering an immersion into his universe, spanning seven decades of creation.

Through a study of the "Entartete Kunst" propaganda exhibition, organized in 1937 in Munich and designed to provoke visitors' disgust, the tour explores and puts into perspective the Nazi regime's methodical attack on modern art and the place occupied by Pablo Picasso, archetype of the "degenerate" artist, in this history.

To denounce the artistic avant-garde, the Nazi regime organized propaganda in the context of a methodical "purge" of German collections. More than 20,000 works, including those by Vincent Van Gogh, Marc Chagall and Pablo Picasso, designated a "degenerate" artist as early as the 1920s, were withdrawn, sold or destroyed.

Drawing on recent historical research and comparing works and documents, the tour reconstructs the history of these works, the ideological context, the commercial logic and the administrative mechanics of the campaign against "degenerate art".

Disney100: The Exhibition is an invitation to explore a century of stories and creation. Featuring nine immersive galleries, this unique experience lifts the veil on some of Disney's most beloved stories - from classics such as Snow White and the Seven Dwarfs (1937) and Peter Pan (1953) to more recent titles such as Ratatouille (2007) and Encanto, The Fantastic Madrigal Family (2021). Fans will also be able to celebrate their favorite stories from the Pixar, Star Wars and Marvel universes.

For almost 55 years, Walt Disney Archives has been carefully preserving some of The Walt Disney Company's most treasured objects. In Paris, over 250 pieces will be on display, including artworks, sculptures used in animation, and costumes and props. These include the Carousel Horse from Mary Poppins (1964), used by Disney Legend Julie Andrews, and the red dress from Cruella (2021), worn by Emma Stone.

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The Dior Gallery, a testament to the bold vision of Christian Dior and his six successors: Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and Maria Grazia Chiuri.