Lifestyle
Olympic Medals From Paris Games Are Falling Apart. LVMH Has Fallen Silent.
Rarely in Olympic history had a single company been as ubiquitous as LVMH Moët Hennessy Louis Vuitton, the luxury goods empire owned by France’s richest family.
As the Paris Olympics’ biggest corporate sponsor, LVMH was everywhere. Its Moët & Chandon champagne flowed in V.I.P. suites. French athletes were clothed by LVMH’s Berluti fashion house. And, in contravention of at least the spirit of the Olympic charter, Louis Vuitton luggage was trotted out during the opening ceremony and seen by more than one billion people worldwide.
But its most significant role involved the Olympic medals, which were designed by Chaumet, a luxury jewelry and watch maker and part of the LVMH group. Gold, silver and bronze — the very best athletes would take them back home as mementos of their feats at the Paris Games.
Now those medals are falling apart — and LVMH has fallen silent.
In just over 100 days since the Olympics closed, more than 100 athletes have asked for their crumbling medals to be replaced. Last month, Clement Secchi and Yohann Ndoye-Brouard, French swimmers, showed their flaking medals on social media. “Crocodile skin,” Mr. Secchi wrote.
Nick Itkin, a U.S. Olympic foil fencer, said his bronze medal started to deteriorate a few days after the Olympics. “But after like a few weeks, it got more noticeable,” he said, adding that he planned to ask for a replacement.
Medals have had to be replaced in other Olympics — notably in Rio de Janeiro in 2016. But in no previous Olympics has a company stamped its brand credentials so prominently.
The issue seems to be most acute with the bronze medals, problems for which athletes first started flagging shortly after receiving them.
The International Olympic Committee has apologized and says it will find replacements. Monnaie de Paris, the French mint, which produced the medals, has so far taken responsibility, blaming the problem on a technical issue related to varnish.
And LVMH has been happy to let the other organizations do the talking. A spokesman for the company said because it did not make the medals and is not responsible for them, LVMH has no comment.
But in the buildup to the Games, and during the event itself, LVMH was showing off the roles of its expert artisans in crafting the medals. On the second floor of a club it created, just a few yards from the Élysée Palace, the residence of the French president, designers from Chaumet proudly explained the yearlong project to design the medals in secrecy. At the heart of each was a piece of the Eiffel Tower.
Chaumet had never previously designed a sporting medal, and of the three they were asked to make, the bronze was the trickiest.
“It’s the most difficult because it’s the most delicate,” Philippe Bergamini, one of Chaumet’s longest serving jewelry designers, told The New York Times at the time.
The company tweaked the designs hundreds of times until a special committee of athletes and Olympic officials were in agreement. Designers then joined forces with the mint, a French institution that has produced money and other precious objects since the Middle Ages.
Each medal took 15 days to complete, from stamping out the design to dipping it in gold, bronze and silver and then finishing it with a coat of varnish.
So when one athlete posted photos of his bronze medal rusting last August, just weeks after the Games, the mint began an internal inquiry to “understand the circumstances and cause of the damage,” the organization said in a statement.
The mint discovered that the varnish used to prevent oxidation was defective. Its varnish recipe is a trade secret, but the coating was weakened after the mint changed it to conform to recent European Union regulations banning the use of chromium trioxide, a toxic chemical used to prevent metal from rusting, according to La Lettre, a French industry newspaper.
A spokeswoman declined to confirm the report, but said in a statement that the mint “has modified the varnish and optimized its manufacturing process to make it more resistant to certain uses observed of the medals by athletes.”
Faced with a deluge of deteriorating medals, the International Olympic Committee has vowed to find replacements. “Damaged medals will be systematically replaced by the Monnaie de Paris and engraved in an identical way to the originals,” it said in a statement.
For LVMH, the Olympics were a coming-out party. It was a major foray into sports, and a moment to promote the company in a way that it had previously avoided, preferring instead to showcase its individual brands. .
“Obviously because it’s the medal, it’s super high profile and everyone is asking the question how does this happen and especially coming from LVMH, whose raison d’être is quality and precision,” said Michael Payne, who devised the I.O.C.’s original marketing strategy.
Lifestyle
L.A. Affairs: Would taking a trip with this new guy finally push us out of the ‘polite’ phase?
Sometimes compatibility unfolds over long conversations at coffee shops or even on the dance floor. Mine and Fernando’s became apparent on our seventh date, standing on a dark corner in downtown L.A. After a short flight, a day at Venice Beach and the fastest glow-up ever for a mom of three, my date opened his hands, sighed and canceled the glorious evening I’d planned. It was supposed to start with a jazz club and end with a tour of late-night sushi bars, until Fernando said, “I feel like a bummer.”
I hooked my arm through the crook of his, turning back toward the empty streets and our stuffy Airbnb.
A few weeks before, on one of our first dates, I’d told Fernando I was presenting at a conference in L.A. “You should join me,” I said, half joking.
“Really?” he asked. “You don’t know me at all.”
He was right. We were in the polite phase. We bonded over being transplants to Seattle — him from the Dominican Republic, me from Florida, but we were still figuring out the basics. I hadn’t learned yet that he never touches coffee but totally loves cake, my least favorite treat. And for me, espresso is a daily requirement.
Fernando didn’t say yes to my invitation right away. We continued to date, playing the questions game. “What’s your favorite snack?” he asked me.
“Mole tacos,” I said. “What’s your biggest flaw?”
“Follow through,” he said. “Yours?”
“I’m annoyingly persistent.”
“Perfect match,” he said.
The more we talked, the more we realized that our shortcomings, which made us look like exact opposites, came from the same root. His father had been barely present during childhood, and my father had died when I was a teenager. We both wrestled with trying to find agency inside of moments in our adult lives that felt like abandonment. Although we’d each been in therapy for years before we met, we also struggled to deal with disappointment.
“Maybe we should go on this wild trip together,” he said.
“Make-it-or-break-it style,” I said.
When we stepped through the door of our downtown L.A. Airbnb after a long, hot day walking the boardwalk, we had our first chance to manage a letdown, together.
“I think people actually live here,” he said.
“Like it’s 2015,” I said.
We’d made a commitment before we flew out to keep things light. If one of us complained, the other was supposed to say something fun. But the apartment was muggy, the surfaces covered in dust. We made exaggerated, positive comments about the vintage decor as I waited for the water to warm in a huge, clawfoot tub.
Fernando said something about getting in while the shower was still cold, so we could preserve water for the good people of California. I noted the fatherly tone — and realized I probably seemed wasteful for resisting the chilly stream during a drought.
While I bathed, he shaved. Then we switched. “I feel shy but not shy,” Fernando said, and I agreed. I wondered if this would be the first of many small, sweet moments — or if it was the only time we’d ever share this kind of intimacy.
We were finally ready for our night on the town, but we only walked six blocks before Fernando turned to me and told me that he was too tired to keep going.
“I owe you,” he said, as we walked back, but I was wiped too and relieved he said it first.
“What if we do something different and call it exciting?” I asked.
We talked about the absolute thrill of ordering takeout in a city that was 30 degrees warmer than the one where we both lived, listing every little thing that was totally amazing around us. All those closed-down garages that would open in the morning selling fabric? Gorgeous.
The dark streetlights on one side of the road that made the shadows look like a modern noir film? Fabulous.
The fact that we were about to fall asleep in the same city as dozens of celebrities we both adored? Relatively meaningless but still badass.
As we ate our to-go sushi in downtown L.A., I realized I wasn’t disappointed at all. My drive to follow through was all about the mission, and our mission had changed. Instead of wooing my new date with a super swanky night on the town, I had the opportunity to connect with him in a real way.
Our trip to L.A. had become a kind of test, way more intense than agreeing on a sofa or building an IKEA shelf. We were stuck spending time with each other without performing, in a strange city, for days.
After I presented at the conference the next morning, Fernando and I moved to a new rental in the Hollywood Hills, where we found our way to endless taco stands and two speakeasies, Good Times at Davey Wayne’s and Adults Only. The only landmark we saw was Muscle Beach, and the only quintessential L.A. thing we did was accidentally find ourselves in front of the Last Bookstore an hour before we needed to head to the airport, so we spent that hour walking around inside.
“Let’s keep traveling,” we said to each other on the way home.
Seven years and dozens of trips later, I engraved “I will travel with you” on the inside of our wedding rings. The night before our wedding, we stood together in a tiny bathroom in his sister’s house in the Dominican Republic, washing our faces. I looked at him in the mirror. He turned and looked at me. “I’m really glad you invited me to Los Angeles,” he said.
“It was a risk,” I said, “and the best trip ever.”
The city isn’t ours, but it made us who we are, together.
The author is a journalist and illustrator working on a memoir about Florida. She splits her time between her Seattle, L.A. and the Deep South. Her Instagram is @adjsbb and website is AshaDore.net.
L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.
Lifestyle
What does freedom actually look like? : It’s Been a Minute
What freedom looks like today.
Getty Images/Viktoriia Miroshnikova/Photo illustration by NPR
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Getty Images/Viktoriia Miroshnikova/Photo illustration by NPR
What does freedom mean today?
Happy Juneteenth! For those not in the know, today commemorates when U.S. federal troops arrived in Galveston, Texas in 1865 to take control of the state and ensure that all enslaved people were freed – a full two and a half years after the signing of the Emancipation Proclamation. Since then, Juneteenth has been celebrated all over the country, especially in Texas and across the South, where Juneteenth parades, cookouts, festivals and pageants happen every year. Two weeks from now, the country will celebrate the Fourth of July – and its 250th anniversary. For many Black Americans, there’s always been a tension between these holidays – and their two different ideals for what it means to be free. As voting rights protections are rolled back and Black history is being scrubbed from government websites, what does freedom look like for Black Americans today?
To get into it, Brittany is joined by Dr. Kellie Carter Jackson, chair of Africana Studies at Wellesley College.
For more episodes about the quality of Black life in America, check out:
Jesse Jackson & the end of the civil rights superhero
Is the economy slowing? Ask Black women.
What to expect when you’re expecting racism
Support Public Media. Join NPR Plus.
Follow Brittany on Instagram: @bmluse
For handpicked podcast recommendations every week, subscribe to NPR’s Pod Club newsletter at npr.org/podclub.
This episode was produced by Corey Antonio Rose and Liam McBain. It was edited by Neena Pathak. We had engineering support from Josephine Nyounai. Our Supervising Producer is Cher Vincent. Our Executive Producer is Barton Girdwood. Our VP of Programming is Yolanda Sangweni.
Lifestyle
The second life of a classic: ‘Amores Perros’ is remastered and back in theaters
First released in 2000, the acclaimed film Amores perros, which was produced and directed by Alejandro González Iñárritu and written by Guillermo Arriaga, has been remastered and is returning to theaters.
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Before Amores Perros became widely regarded as a modern classic, it belonged to Mexico. The film premiered at the 53rd Cannes Film Festival in 2000, where it won The Grand Prix, launching a run of international acclaim that has never quite ended. This month, Amores Perros is back in theaters in a fully remastered format from its original Kodak film stocks.
The film’s plot centers on three strangers whose lives intersect at the scene of a car crash. Each story wrestles with overlapping issues of social class disparities, crime and familial betrayal. The release in Mexico coincided with the end of the Institutional Revolutionary Party or PRI’s 71-year hold on power. Amores Perros was followed by a period of original, contemporary films in Latin America that would prove the region’s studios could compete with Hollywood in scope and complexity.
One of the film’s lead charachters, Octavio, is played by actor Gael García Bernal.
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The film marked the directorial debut of Alejandro González Iñárritu, who would go on to win four Academy Awards including back-to-back best director awards for Birdman (2014) and The Revenant (2015). In a recent interview with NPR, Gael García Bernal, a lead actor in Amores Perros, called the film’s launch “a new geography in cinema.”
González Iñárritu and García Bernal spoke with Morning Edition’s A Martinez about their early collaboration and the film’s continued resonance with new audiences.
Listen to the interview by clicking on the blue play button above.
The broadcast version of this story was produced by Margaux Bauerlein.
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