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
Carrie Underwood Forced to Sing A Cappella at Inauguration After Tech Glitch
Carrie Underwood is proving to be a consummate performer … following an awkward moment during her Inauguration Day performance.
Check it out … the “American Idol” alum is introduced as the singer for a performance of “America the Beautiful” following Donald Trump‘s swearing-in at the Capitol Rotunda Monday morning.
While the country star appears ready to wow the audience in Washington, D.C., the Inauguration’s tech team isn’t quite prepared … as the backing track for her patriotic tune cuts out before CU is able to belt out one single word.
At first, Carrie waits for the tech glitch to be rectified … awkwardly standing to the side with all eyes on her. However, after it becomes clear the background music will not be played, Carrie encourages the room of politicians to join her in an a cappella rendition of the tune.
Though, it’s safe to say Carrie is better versed in the song’s lyrics than the D.C. elite … watch the vid, many stumble through the words as the “Before He Cheats” artist sings out loudly into the mic.
Perhaps everyone should stick to their respective lanes!!!
As TMZ previously reported … Carrie was named one of the Inauguration Day performers days before Trump’s swearing-in. After being criticized for taking the gig, Carrie issued a statement defending her decision … in which she declared her love for the country and said she was honored to have “a small part” on this historic day.
She encouraged others to see her choice as one made in “the spirit of unity” … though, we’re not sure her critics online would agree.
Still, Carrie is the one getting the last laugh … as she sounded great, despite the tech drama.
Lifestyle
In “The Last Showgirl,” Jamie Lee Curtis Dazzles
The conversation continues as Annette wrestles her flesh free of its spandex prison, pillbox still on head. She’s left standing in her bra, thong, and sheer support pantyhose. The camera shoots Ms. Curtis here from multiple angles, each shot exposing a real, 65-year-old woman’s body, rounded tummy, slight sag, and all.
Yet the scene is not remarkable because Ms. Curtis lets us see her in her underwear. It’s remarkable because of Annette’s (and Ms. Curtis’s) utter comfort in her own skin. Annette never stops chatting with Shelly, and never makes a move to conceal or cover herself.
Also remarkable is the director’s refusal to objectify Annette’s body. It’s simply an organic part of the moment. And this, in turn, encourages viewers to take it similarly in stride: It’s just two women talking, and one is half-naked — as happens every day in gyms and dressing rooms.
Annette may be a former showgirl taking off her clothes, but this was not a striptease. What gets unveiled in the locker room is not a “body,” or a collection of fetishized parts, but a person. Annette has performed an anti-striptease.
Later, Ms. Coppola gives Ms. Curtis a second, poignant scene in which to reimagine — and undo — classic showgirl motifs. This time, a possibly drunk Annette, wearing her leg-and-bosom-revealing uniform, climbs atop a casino table and, unbidden, launches into a solo dance to Bonnie Tyler’s “Total Eclipse of the Heart,” the ’80s ballad of desperate longing. We can’t tell whether the music is actually playing or if it exists only inside Annette’s head, but it’s immaterial. The dance is a wholly internal experience for her.
Annette dances with more heart than mastery. She writhes and swivels, clenches and releases her fists, arches her back, runs her hands over her body, closes her eyes in concentration. And although she’s on a tabletop, a makeshift stage, it’s clear she is dancing for herself alone, enjoying her own sensuality, inhabiting her body from within.
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