Codex Costinianus

Happy New Year !!!

2011-12-31T01:02:00.001-05:00

As 2011 is coming to a close, when our hearts fill with joy, when the hours have a stronger sparkle and when the hopes blossom, the Codex Costinianus editing team wishes you good health, accomplishments and beauty !

Happy New Year !!!

Collection SS2003: Escales Mediterranéennes

2011-06-18T00:46:00.150-04:00

Today is not too hot, not too humid, just pleasant enough to stroll along the lake shore and savour the sight of calm waters upon which swans look on to the sailing boats. A perfect summer day! This sight made me think of the "eternal" Mediterranean, a universe into itself that is both the cradle of our civilization and a vast patrimony of humanity.

Created by Christine Henry and issued in 2003, "Escales Mediterranéennes" ("Mediterranean Stopovers") is a tribute to the element that has defined civilizations - a Sea that has become at once a mosaic of colours, cultures and spirituality. The three monotheistic religions developed around its waters. Its shores saw the "inventions" of numbers, arithmetic, astronomy... in effect, of all science. Here is where the great myths were born, such as the story of Atlantis, the island lost under the sea, or that of the sirens who attempted to inveigle Ulysses (the most famous hero of Antiquity) and who threw themselves into the sea and drowned. So many tales have been recounted, in fact, that even the ancient Library of Alexandria (or its modern sister) could not boast enough shelf space to house them all.

Just to get an idea of how variegated the Mediterranean cultures are, consider only how its ever-changing colour made it so difficult to reach consensus and proved equally fascinating to mankind. The Sea is sparkling and pink at daybreak, azure in the mid-day heat, a cloudy emerald hue near the rocky coastline, golden as the sun sets, gray or midnight black when beset by inclement weather and white foam-lashed with shades of silver when the wind whips it into a fervour. And no sooner have we defined the colour of its waters than its mood changes and shifts to yet another place along the visible spectrum.

This post invites you to plunge head-on into this imaginary voyage, where symbols of the Roman, Greek, Turkish, Spanish and Arabic cultures are gracefully depicted among the sea's natural treasure - fish and aquatic plants. This intermingling of elements is a close reflection of what a real explorer would be set to discover: vestiges of the Roman world in Libya, prehistory in Sardinia, Greek cities in Sicily, the Arab presence in Spain, Turkish Islam in Yugoslavia ...a diversity born out of commerce and wards.

The scarf is superb and ageless - both when displayed and when tied - thanks to the designer's painstaking rendition of the details of each graphic element and to Hermes for the magnificent colour combinations.

Collection SS2005: Les Triplés

2011-06-11T10:00:00.000-04:00

Having welcomed the summer in full force (save for a short-lived cooler period), I thought of the time of yesteryears when the arrival of June meant vacation-dreaming - destinations, activities, discoveries. It was one of the most exciting periods, at a time when life's worries were a thing for adults.

Les Triplés (The Triplets) is a children's book series that has been adapted successfully to the silver screen and - thanks to Hermes - to silk. One of the most successful designs ever produced, the illustrations depict the Triplets' adventures in Paris, featuring key identifyable monuments around town as the backdrop.

The colours are very warm, from baby pink and blue to yellow and green - a splendid harmony of colours that invite you to savour every scene in admiration and dream!

Collection SS1996: L'été de Loula

2011-06-04T00:27:00.003-04:00

Toronto has been hit by a heat wave, long longed for, and I couldn't think of a better scarf to reflect the excitement than "L'été de Loula" ("Loula's Summer") - a "page" recounting, in French, Loula's desire to BECOME Summer.

The concept of an actual writing piece appealed to me instantly, and the colour combination - the predominant "ink" blue on a white background while the illustrations have a pale blue to match the darker hue - is fantastic.

This design comes as a gavroche (pocket square)-size, and anyone sporting it (whether a gentleman in the outer pocket of his jacket, or a lady around her neck, wrist or on her purse) will be the subject of a great many turning heads....

Collection FW2009: Jardins de la Nouvelle Angleterre

2011-05-28T00:41:00.001-04:00

I fell in love with this scarf since the moment it was launched, and I'm surprised as to how I managed not to give it a place of honour in the list of beautiful scarves.

"Jardins de la Nouvelle Angleterre" ("Gardens of New England") lets you admire, as if through a lens, the beauty that the pictures landscapes display. Looking at this landscape depicted on the scarf, I have the distinct impression I'm coming out of an expedition through the forest to an opening where life is idyllic - trees, plants, racoons, a river stream ... rich fauna and flora that coexist harmoniously with the human inhabitants.

The scarf ties wonderfully and the colour combinations (the red, depicted above, the forest green and the taupe, below) are absolutely phenomenal !

Collection SS2011: Grand Manège

2011-05-21T01:35:00.007-04:00

Only a few riding schools around the world have managed to preserve the equestrian art intact over the centuries and cultivate people's admiration for the horse. Since the development of engines and the introduction of cars, horses have no longer been playing as critical a role in people's lives. The horse's nobility, beauty and role it played in human history have nevertheless earned it a tremendous respect of the animal.

"Grand Manège" ("Great Riding School") thus pays tribute to the invisible training necessary for a flawless spectacle. Some bits of harness from the Cadre Noir, the prestigious French riding school, have inspired this composition: the ribbons knotted with rosettes to be plaited into the mane of the steed, the cockades to adorn its ears, but also reins and bridle in leather, stirrups with round stirrup pads… These elements have been arranged so as to mirror the "arabesque" figures one can expect to admire during show horses.

As Hermes so eloquently describes it, the equestrian art is born of a mysterious intermingling of effort and humility, of patience and beauty.

This scarf was first launched in 1990, and reissued several times since then (in 1991, 1993, 1997 and this year in regular size, pleated and as Twilly).

Some colour combinations appear to reflect a younger spirit than others thanks to the presence of several brighter colours that infuse a certain playfulness into the scarf - either way, the actual design is certainly quite traditional so it, alone, would not be sufficient to render the scarf more contemporary.

Collection SS2011: Fleurs d'indiennes

2011-05-14T01:36:00.000-04:00

An exciting tribute to the craftsmen from India who have enchanted us with their prints at least since the 16th century, when Indian-made fabrics first entered France not only mesmerizing the fashion-sensible population, but also threatening the domestic manufactures.

Aline Honoré, the creator of this design, has explored this beguiling theme before, choosing to focus her attention (and ours) on fabric samples proper in 2008's "coupons indiens" and in 2010's "pelages et camouflages" and "cents plis de miao". In addition, she laid the design of 2009's "la femme aux semelles de vent" on more textiles yet.

The originality of this design stems from the arrangement of the textile swatches as flowers, their metamorphosis into delicate petals infusing a remarkable richness into this overall design. When tied, this scarf features glimpses into fabrics that, like a chest half-open, invites us to discover all the "secrets" hidden within. The pattern, when displayed, may not catch your attention on the spot when compared to the other "jewels" of this collection, but the tied scarf is excitingly youthful, and Hermes' many colour combinations is sure to appeal to even the more discriminate shoppers.

Collection SS2006: Chemins de Garrigue

2011-05-07T00:10:00.003-04:00

I caught wind of the upcoming scarf designs, so as we're waiting to admire - and feel - the actual scarves in the boutiques, I thought of paying hommage to the talented artist Christine Henry, whose newest creation will be featured as part of the Fall/Winter 2011 collection (this is in addition to the "Nuées imaginaires" - "Imaginary Clouds" - from earlier this year).

This prolific artist is recognized for her intricate designs that reflect snapshots of both ordinary and extraordinary life, illustrated in a manner that makes you feel as if you hold an entire miniature universe in your palms (or wear around your neck, for that matter). Her "rives fertiles" ("fertile rivers"), included in Hermes' "water"-themed 2005 collection, caught my attention in a profound way, turning her into one of my favourite drawing artists. The fascinating aspect of her work, however, is that she succeeded in growing over the years, exploring various styles (as captured on the 17 designs of hers that Hermes has featured over the years) that appear quite disparate from one another.

Today's "Chemins de garrigue" ("Paths of the shrubland") has been created in the same style - a style that infuses, in addition to dynamism, a tasteful richness and spectacular elegance into this scarf that only a handful of designs can boast. Because the scarf's "footprint" is a square, the shape itself is static. To compensate and infuse energy into a scarf, artists use specific techniques - "tricks" known only to craftsmen and women who've mastered the trade. One of the more obvious techniques consists of developing the designs along the square's diagonals. An alternative technique is Christine's approach to imagine curvy paths across the landscape, rather than straight lines. The winding paths take the explorer on a journey of discovery, inviting you to notice all the details along the way (as opposed to straight lines, where your sight is automatically drawn towards the point terminus of the "journey" and therefore presenting you with the risk of missing everything else surrounding the path).

The inspiration behind this scarf springs from the calcareous plateaus of the Mediterranean shores - the "garrigue" - punctuated by dense thickets of kermes oak, juniper and stunted holm oak. Aromatic lime-tolerant shrubs such as lavender, sage, rosemary, wild thyme and Artemisia are common plants of the garrigue landscape. Calling this shrubland home are sheep, donkeys, rabbits, reptiles and snails alike - examples of which are graciously captured on canvas.

What's interesting is that Hermes' choice of colour combinations to illustrate this design - soft blue, soft pink, rich yellow and black, to name just a few - is very similar to "Nuées imaginaires" from Spring/Summer 2011.

This scarf is not only beautiful, it is utterly elegant, promising a great many heads turning to admire both it and the person sporting it !

Collection SS2011: Concours d'Etriers

2011-04-30T01:22:00.000-04:00

I'm seizing on two important events - the timid arrival of spring and the Canadian Federal elections - to feature a scarf that echoes the former in colour and the latter in spirit.

Concours d'etriers (Stirrup Contest) depicts many of the stirrups discovered by Emile Hermes from lands close and far-away, and diligently added to his personal collection, one of the many manifestations of his admiration of everything related to the noble horse. Another account of some of the stirrups was gracefully captured in the classic "Etriers" scarf that I featured on December 31st of 2009, so I won't insist on the items; instead, I thought it appropriate in light of the Canadian political parties undergoing a contest themselves, in which the de facto leader of the country - the Prime Minister - is to be chosen. As a metaphor for the political landscape, the number of stirrups, and their proximity to each other, make it rather difficult to distinguish and appreciate the individual features and - hence - the beauty of each piece. That is because their number dazzles us; we train our eye to seek out the pieces that somehow stand out - the larger sizes or those of brighter or darker colours. Yet we must quickly develop a "plan of attack" to evaluate each item based on its own merits in order to pass an opinion on which one deserves the top prize - a difficult task, naturally ! Fortunately, the beauty of the collection rests not in the impressive number of items that makes it, but in every piece being carefully selected for its inner beauty - through his intense work and discriminate eye, the collector has done the evaluation for us, thereby helping us tremendously! The question is whether the Canadians will be as passionate and as discriminate as a true connoisseur to choose wisely.

Finally, a word on the arrival of spring (or its hide-and-seek play). The trees in Toronto have finally bloomed (remember, it is May already!) and the sight is absolutely marvelous. The joy triggered by the rebirth of nature is without limits and I've been experiencing this sentiment fully over the last week. I can only imagine what the coming days will surprise us with !

Until then, there's a wonderful surprise in this very scarf design: the way the scarf ties is unexpected and quite beautiful. Similar in spirit with the "Voyages en etoffes", perhaps the the most delicate example in this scarf is the one depicted below, with a combination of blues, cream and light brown for a truly magic effect.

Collection SS2011: La Ronde de Jockeys

2011-04-23T00:30:00.019-04:00

A lovely design originally released under the "Ascot 1831" name in 1969 before being reissued once before (AW2004) under its current "Jockeys Round" name. It illustrates twelve mounted jockeys transposed in such a way as to fit within a circle.

I was drawn to this design by the very bright and vibrant colours that infuse a very young spirit into this traditional pattern (take, for instance, the knotted scarf below, whose baby blue and orange - one of my favourite combinations - give a young vibe despite the traditional pattern featured in each of the four corners).

Collection SS2011: L'alphabet des métiers

2011-04-16T05:30:00.002-04:00

A memorable scarf that takes us on a nostalgia path to our childhood and rekindles the passion each of us had for collecting - stamps, rocks, hats, airplane models, and (naturally) cards. As a tribute both to our childhood pastime and to the artisans (the theme of this year's collection), Hermes has reissued "the Alphabet of Trades", illustrating the craftspeople and their trades, matching one of each for each of the twenty-four letters, such as: "Benoit is a baker" and "Pierre is a painter" (I invite you to find Hermes').

This design was launched in 1945, and reissued in 1991 before this year's three more colour combinations.

This design renders the scarf a little traditional, although the many ways of wearing it can easily make is as contemporary as any other.

Collection SS2010: Brazil II

2011-04-09T12:53:00.000-04:00

Long overdue is the charming "Brazil" design with its delicate feather-based gear inspired from the ornamentations of Amazonian Indians. Today's post focuses on the reinterpretation of an older design, with a fresh scarf focusing on a close-up detail of the original.

People's (and peoples') fascination with self-built gear is evident in the many cultures where adorning various body parts continues to be a central element of local cultures. As a species of the animal kingdom, man is the only "animal" lacking feathers or fur to protect its body from the weather's vicissitudes. First, we seek to cover our sexual organs. Yet, the drive to cover our bodies is not stemming from mere modesty. Since our birth (and the original creation), we sense that we're lacking something - something we end up seeking (often relentlessly) to make ourselves beautiful throughout our entire lives.

As "naked apes", we have retained a single natural vestige that we - men and women alike - use to express grace, sensuality, seduction (think of a geisha's hair), as well as courage and virility (consider the military-style haircut). When expressing ourselves through a hair arrangement or haircut is no longer enough, we appeal to feathers as embellishments or, symbolically, as complements to our bodies, elements that we seize on to transform ourselves. The delicate feather becomes a powerful symbol of power, social position or courtship ritual. Nowhere is this more obvious than the peacock's giant fan, nothing short of a marvel of transformation, to signal its moods.

Collection SS2011: Le Pégase d'Hermès

2011-04-02T00:02:00.001-04:00

Continuing the review of the current season's creations is "Hermes' Pegasus", a fascinating scarf that catches the admirer's eye for two reasons: first, the remarkable rendition of juxtaposed equine drawings is reminiscent of Leonardo da Vinci's sketches intended to explore a subject thoroughly (and to the patron's satisfaction) before the artist began work on the actual canvas, marble or architectural construction. As we look at this drawing, a certain anticipation builds up, making us wonder what the actual creation - which undoubtedly must exist somewhere - looks like. This curiosity becomes our desire to learn more and to discover what intuition, inspiration, creative genius, skill and possible secrets the fruit of this passion entailed. And the canvas' power to elicit our curiosity is the second reason this design fascinates. The text along the four edges of the square tempts the admirer to pay attention to it, in the chance that it may reveal some of the secrets. It is the "other" window into the artist, his intimate thoughts, possible struggles and ingenious solutions. In a word, the writing elicits the desire to be read.

The choice of vibrant colour combinations (for the most part) renders the scarf very young and full of energy. Select areas of the knotted scarf remind me of the "Le monde est vaste" design. Yet the gracious lines of the drawings, unmistakably revealing a horse, assures the viewer that this design is new and deserves to be seen!

Collection FW2009: Littérature

2011-03-26T00:00:00.001-04:00

In the age of Internet and emails, writing by hand maintains an aura of elegance and of a delicate treasure, a gift that only a select few possess. For anyone who appreciates hand-made products, the sound of a nib sliding on paper is a tremendous source of pleasure. For those who refuse to follow the flock, pens act as a counterweight to the computer age. And I must confess, I identify myself with this group, not only for my appreciation and admiration for the calligraphers, but also for my fascination with writing instruments - and the ever graceful fountain pen.

The scarf depicts an alphabetical sequence of letters in various fonts, reminding of the gift of reading and writing that we so often take for granted. Like a novel where the stories lie hidden in the rows of letters, words, paragraphs, pages and chapters, this scarf reveals a story as well, and even features words between the lines - literally: not only the more obvious "PARIS" spelled in between the lines, but also "HERMES" - one letter at a time, found in each of the six rows of letters.

Looking at this scarf, I found my mind carrying me to a story shared by Steve Jobs, the founder of the latest world-wide sensation, the iPad. In an address to the college graduates, he shared not only his passion for nice fonts that he studied in college himself, but how his interest, at a time when he didn't know what his purpose in life was, became so relevant when he embarked on developing a new computer and, as part of it, nicer fonts. I found his story particularly relevant because I, too, found myself drawing on the general knowledge I cultivated during my high school and university years.

Deceptively simple, this design is remarkable for the elegance it infuses into the scarf when knotted.

Collection SS2011: Ex Libris dip dye

2011-02-26T00:10:00.001-05:00

I spoke about this design before, but I found the Maison's reinterpretation of this pattern in the dip dye variance tremendously appealing, particularly when tied.

The Ex-Libris, featuring two different hues of the same colour, strikes me as utterly sophisticated and a pure joy to wear. Its velvet-like look is an equally appealing characteristic that infuses the scarf with understated elegance.

And to quote a beloved friend of mine, this design is awesome and also awful (as in the original definition, "full of awe" - that's the word originally chosen to describe Christopher Wren's St Paul's cathedral).

Enjoy !!

I'm seizing this opportunity to say that I shall return with my articles in three weeks from today. Keep well until then and I look forward to featuring more scarves after mid-March.

Collection SS2011: Clic Clac dip dye

2011-02-20T00:22:00.001-05:00

In the spirit of savouring the harmony of contrasting beauties the artisans' creative genius produces (this is equally valid when generalized to most aspects of our lives), I will shift my attention in this post to another kind of Hermes silk scarves. Today's post zooms in on the "Clic Clac" design, originally launched in 1980 and reissued in 1997 and 2004 (as well as in cashmere in 2008) prior to this season's dip dye variation. Afterall, an aesthete is a person without a precise identity in today's world, so I must be defined by my choices in the objects I feature.

The design proper has not captivated me as many others have before, in part because the juxtaposition of equestrian devices and of a puzzle-like pattern doesn't speak to me, yet the dip dye finish renders it truly remarkable - hence my choice of featuring it. What caught my attention, however, are the symmetry of the pattern (I'll come back to this in a bit) and the whips, as the predominant motif of the scarf design. I instantly thought of the whip as a strong symbol of the taming exercise - a reflection of the man's desire to make nature work for him, or rather his attempt to domesticate the world. The topic of taming the savage has been explored countless times, particularly in the context of the objectives behind the taming. But what exactly constitutes the savage? Perhaps a concept of a melange of nature and culture (as the embodiment the animal and human being). More poignantly, it is also a an undefined territory as a reflection of a state of mind or even a moral attitude. Adam and Eve were expelled from the garden of Eden into the savage space - the place where humanity is supposed to seek - and achieve - redemption. We perceive that space as a danger, but also as a state of the soul that facilitates our undestanding of the world. Is this the reason why we feel a certain fascination towards the wildness - due to its dual effect of danger and attractiveness?

When we want to explore the savage, nowehere is the search more fruitful than the investigation of the other side of the mirror (this is where the symmetry in the pattern resonated with me). This is one of the main reasons why the theatre and the cinema are equally appealing to me, as venues where the mosaique of the human character is fruitfully explored.

This design did not impress me when the scarf was displayed, for it combines whips with certain geometric patterns that provide a puzzle-like picture overall without a strong connetion to the ambiant world. Yet the scarf ties so beautifully, and the dip dye treatment gives it such a soft, velvet-like appearance, I instantly recognized it as a personal favourite.

This scarf can be either youthful or mature, depending on the colours you'd choose. But either way, the velvet-like finish allows for an experience that's a cut above the other silk scarves...

Collection SS2011: L’Art du Temari

2011-02-12T00:08:00.009-05:00

My interest in traveling and in discovering new places has been rekindled recently when I read an article on one of the most prized museums in Europe, the Museo di Capodimonte in Naples (Italy). The old Bourbon palace is a hidden gem for art admirers thanks to the many masterpieces of the Farnese Collection on display – paintings of tremendous high artistry that reveal so much about the variety and vagaries of the human character (included in the collection is Parmigianino’s beloved “Antea”, an arresting portrait of a beautiful young woman whose image has been used in Italy on everything from fridge magnets to tea towels and Christmas ornaments. The woman’s identity continues to be, like Leonardo da Vinci’s Mona Lisa’s, somewhat of a mystery, while her beauty is truly haunting).

The painting in particular made me think of the fascinating people that inspired such higher creation, people who – like us – held beliefs, followed customs and marked their existence with precious objects to protect them against evil spirits. Neapolitans are famously superstitious people – but then again, who isn't? I smile as I remember following very strict patterns when getting ready for the day ("right foot first" not only for when stepping outside or entering a new place, but also when putting on socks and shoes). Do such habits dissipate since we become aware of becoming more mature? Very unlikely – having lucky cuff links and ties, sweaters and jeans, glasses and even songs is case in point (not to mention that just the other day I caught myself reading my horoscope).

It is therefore in this spirit of lucky charms that Hermes has created “L’art du Temari” (“Temari art”), inspired by the Japanese tradition of offering these fabric balls, beautifully weaved in unique patterns of endless possibilities, as juggling equipment, lucky charms, gifts for births or weddings, for a New Year or a birthday. From humble beginnings as simple toy balls for children's play, Temari create a magnetic effect on lucky recipients and gift-givers alike.

Many lose sight of the superstition involving the amulets themselves: they must be found or received as a gift, and never purchased on one’s own. Such traditions were held the world over, and have been as old as the 32,000-year old Lion Man discovered in Germany’s Hohleinstein Stadel grotto.

As a spectacular decorating focal point, the puzzle of the design is mesmerizing. The equally fascinating aspect is that stitches can go in any direction because of the random wrapped thread surface of the ball: they are not limited to the traditional “up-and-down” or “side-to-side” motions as with traditional stitchery. Of particular interest is the intriguing pattern carried through the scarf’s surface, particularly when the scarf is tied: it appears as if some loose threads have been left undone, an as open invite to the viewer to let his/her imagination explore the endless ways that the patterns can be made. The colour combinations are pretty young, allowing the scarf to match the spirit of both younger and young-at-heart persons, due to the very playful nature of the pattern.

In the spirit of having fun with the scarf, I encourage you to consider knots you haven’t previously sported. Let the play begin!

Collection SS2011: Ferronnerie

2011-02-05T00:05:00.004-05:00

Last week I was talking about the nostalgia of times past, and this scarf brings to life the romanticized world of craftsmanship as we would experience it today predominantly in History books.

The year 2011 has been dedicated by Hermes to the artisans - the passionate visionaries who invest their time in intellectual or manual tasks, finely sculpting in effect the time in effect creating something with their time. So I couldn't think of a better ode to the creative act performed with passion, pleasure and delight than "Ferronnerie" ("ironwork").

The magic of this design stems from the beauty of the precious creations that ennobled one's life in discreet yet impactful ways; its charm stems from allowing us to realize that nowadays, the need to satisfy an increasingly large market has led to mass-production, resulting in ubiquitous yet uninspiring, mundane objects.   Repetitive work, exceedingly uncreative, means degradation - not only of human activity but also of time's significance. Time is better wasted than enslaved and left to shrivel with each day's repetitions.

Real work involves the mind and the entire body, leaving behind wrought iron hinges born of inspiration, contributing to culture and bearing witness to the passion that went into their creation.  And how glorious these finely sculpted creations are, and how precious was the time spent creating them ! That's likely because every artist is the parent of what he/she does, not only metaphorically but also viscerally.

This scarf is a successful reissue from 1970 in the smaller format (70cm).  The colour combinations in this pattern infuse a great deal of life and joy into the design - sentiments echoed by the presence of ribbons swirling around the edges. Those same colour combinations also instill the vintage air into them, rendering them all the more desirable, despite the more traditional pattern.

Collection SS2011: Cuirs du Désert

2011-01-29T00:00:00.002-05:00

It hasn't been since Leigh Cooke's 2007 "In the Pocket" design that I felt so exuberant about a scarf - albeit for different reasons. Unlike the last time, when the pattern itself was the trigger of my admiration, today's "Cuirs du désert" ("leathers of the desert") mesmerized me with the colour combinations (for only some, evidently). Upon closer inspection of the scarf design, I was equally taken by the detail of the leather pouches, bags and wallets that surround the Touareg - both as an hymn to the artisans and as a literal reflection of the objects that identify with their owners as they become the Touaregs' companions on the long journeys. The fringes, in particular, are depicted with a great deal of attention to the original details, and that, to me, is thoroughly impressive.

Six colour variations resonated with me so much, I was at a loss for picking the two most impactful to display here, to complete the experience. To paraphrase a friend's reaction (in a different context), this scarf is both awesome and awful - as in the original definition ("full of awe" - the exact words originally chosen to describe Christopher Wren's St Paul's cathedral).

This scarf is a perfect successful example of reviving an original design from 1988 by reinterpreting it in colours that render the scarf contemporary. Its central depiction - the Touareg - triggered in me a nostalgia of the origins. Increasingly fewer people can recall the journeys that the first pioneers undertook, venturing into the unknown to find luxuries available in other parts of the world - and permitting those with a love of the unique a sublime experience and access to a world of dreams. This quest has defined Hermès since the Maison's inception and is perhaps the chief element that resonates tremendously with me - and with all the admirers of the brand.

So in this spirit I am dedicating this post to my friend (A) whose interest in all things beautiful and loyal patronage continues to fuel my desire to bring forth beautiful, phenomenal designs.

Collection SS2011: Rêve de Corail

2011-01-22T00:23:00.002-05:00

The tea pot amulet in the right hand corner of this design, with a monkey on its lid (that served as the inspiration for this pattern) gives wings to our imagination in this "rêve de corail" ("coral dream") design.

Carmine, scarlet, magenta, cadmium red and, of course, coral red.... When was the last time you paused to think of a colour - and not just of any colour, but of red? The colour red's range of meaning has never ceased to amaze the imagination and intellect. Red's impact on cultures has garnered attention throughout history. And yet, its deepest essence continues to remain a mystery.

Reds were the first colours to be used by the Neanderthal man when he began to paint and dye, long before he discovered how to extract the other colours from plants, roots and animals.  In fact, red is not only the first colour known to man, it is the first man: the Judeo-Christians believe that God created man from red clay and gave him the name Adam, which in Hebrew (the language that God used to communicate with mortals) derives from the word "red". God was so passionate about his creation that he hid his colour from plain view. He let blue reign over the firmament and the endless seas, while green was allowed to proliferate over the brown earth. But red was reserved for an intimate place inside God's most beloved creations - particularly in the flesh and blood of his own image on earth. Red became the colour of beginnings and endings, of sunrises and sunsets, of birth and death.

The biblical Near East and Mediterranean Europe - the Hebrews, the Greeks and the Romans - loved red and made it the colour of power and beauty.   Since very ancient times, red has been perceived as beautiful, bright, lively and joyous - arousing admiration, pleasure and good fortune.   In early Christian art, red was considered the colour of divine love, subsequently transported to the cardinals' vestments. The cardinals of the Roman Catholic Church have for centuries worn red as a symbol of their willingness to uphold the faith to the point of martyrdom. Yet Christianity also introduced a negative, disquieting and deadly interpretation of red - in contrast to its positive resonance. Then came the development of a chromatic symbolism based on the four cardinal points: two of the referents for red today remain fire and blood; only now, one must carefully distinguish between good fire and evil fire, between good blood and bad blood. The red of fire, in its benevolent manifestation, is that of the Pentecost and of the Holy Spirit. It is at once light and breath, powerful and redemptive. It is a red that shines, lights, heals and heats - just like the sun. Its malign aspect is the red of shadows, the flames of hell that burn without illumination. It is the satanic red that burns, wounds and destroys: the red of Judas' hair, the fur of vermin - like the treacherous fox - and above all, it is the red of the wily, lying, lustful and proud man. In Christian culture, blood red is largely that which gives life, transmits vital force, purifies and sanctifies. It is the red of the Saviour, the blood spilled on the cross to save mankind. It is a sign of vigour, energy, fertility and redemption. Conversely, red associated with bad blood is the symbol of impurity, violence and sin. Red is the stain of rage, of war and of death.

To paraphrase Wassily Kandinsky, in no other colour would one see so much contrast than in red. Anyone who knows passion knows red. Red has always been first among the colours of the spectrum.   Its primacy is not merely an arbitrary aesthetic choice; there is something imperious about red that makes it stand out. Indeed, red is a colour that demands to be seen !

And seen it is in this "rêve de corail" ("coral dream") design (as displayed above), where an apparent endless string, displaying coral pebbles in sequence, unwinds right before our eyes as an open invite for anyone to touch the "charms", the many artistically executed marvels of craftsmanship... or, conversely (mirroring the dual symbolism of red), the strand tempts our gaze to identify its loose end and from there, to follow the pebbles. And in this game of seduction, the coiling strand steals our gaze and hypnotically draws us closer and closer to the centre, leaving us wondering about just where that path will take us and ready to step beyond, to quench our curiosity, despite the change of getting lost.

Even though this pattern reminded me of Valerie Dawlat-Dumolin's 2004 "impose ta chance" design, I loved it when I saw it displayed, because its assymetry resonated with me instantly. Yet, when knotted, I find the scarf becomes somewhat traditional - is it the tassle-looking images in the corners?  I'm not sure why, but I find the scarf loses part of its charm and magic when tied.

Still, I love this design for its power to make us dream, and I'd recommend it for anyone with a passion for marinelife or just for holiday destinations with a view of the ocean - but be sure that the colour matches your skin tone, for not all colour combinations are equally as impactful as the one above.

Collection SS2011: Mots de soie

2011-01-15T00:19:00.007-05:00

Writing came about as a result of the prehistoric man's need to record the production and exchange of the goods he produced. Since then, the art of writing has recorded the entire range of human experience, from the sacred to the profane. Writing was destined to supply and preserve a record of the past, even at the expense of our ability to memorize.

Hermes pays tribute, through this design, to the written words - words recorded on silk as a metaphor for all future generations to discover, embrace and protect the tasters of the past. The composition is very similar to "Le monde est vaste" - a design I spoke about last year, and a more recent design - "Les dix cavaliers" - of June 2010. What I found surprising is the designer behind this scarf: no other than Virginie Jamin, the creator of "Belles du Mexique". This pattern is such a departure from the previous style and approach. To me, what just such a departure indicates is the designer's versatility in expressing herself in a variety of styles, which may be encouraging or not, depending on the results. I would take the liberty to predict that this design will be nowhere near the previous one in terms of popularity. Still, the actual words recorded on this scarf are charming, full of positive resonance and simply enchanting.

And since we touched on the concept of beauty in the context of the written word - as an integral component of a culture's most distinguishable expression: the language - a final thought on what would make a language beautiful. Early on, I used to think that certain languages (such as French, Italian and Greek) were truly beautiful; yet, with the passing of time, I came to realize that what makes a language beautiful is the speakers' choices of words (similar to a wedding, where beauty is dictated not as much by what the bride and groom wear, but rather by what all the guests wear, for when everyone is dressed elegantly, the entire wedding is elegant). So I cannot think of a more elegant invitation to all those who harbour a special appreciation for languages to search their memory for the words that had a special resonance with them throughout the years and enrich their communication styles with them.

Due to its many colours in this combination and the additional characters (in complimentary hues), the pattern is quite busy, so the choice of this design will certainly reflect the wearer's personality (for instance, the scarf featured above has very strong colours, meant to reflect a strong personality whereas the one knotted below has very soft colours, mirroring a more discreet person).

Collection SS2011: Nuées Imaginaires

2011-01-08T00:52:00.008-05:00

Upon close inspection of all of this season's designs, this is, without a doubt, my most favourite. Just as I have been in awe with most of Leigh Cooke's designs, I have come to appreciate, admire and adore some of this artist's beautiful creations.

Christine Henry, the creative force behind today's design, has a unique gift of rendering images with the power of carrying us into far-away lands - taking us on a voyage to the gates of an Indian palace), offering us magical glimpses into the life along mystical rivers (in "Rives fertiles"), or uncovering for us the core of our world (in "Axis mundi"). Having taken us to discover earthly scenes, this season she is elevating us - with gentleness and grace - to a heavenly place ... quite literally.

In "Nuées imaginaires" ("Imaginary clouds"), the designer reveals for us a magic world where fantastic creatures, born out of our rich imagination, live in perfect harmony - with each other and with the world. The creation - true to the artist's signature style - is a snapshot at a given time, a depiction that is fixed in time and space yet where the viewer can detect, indeed "feel", the energy of every scene.

Each scene is a reflection of an individual dream whose details we can recognize even long after we opened our eyes - like a sun ray coming from a high-above window that reveals the detail of a story encaptured in the mosaique down below. Together, the scenes make an ensemble that reveals before our eyes like a beautiful lyrical composition, an opera in which the story is captured and enriched with every area that enchants the listener and that continues to linger in the audience's mind long after the courtain has fallen.The colours of most of the scarves in this design are very vibrant and well-defined, as we experienced in her more recent creations - an element of design that makes for a very youthful scarf.

Overall, this design renders the scarf very sophisticated, if somewhat mature in this regard - and only a person with a strong character and personality will find it appealing.

In blue, this scarf is phenomenal for the discreet orange accents (both the border as well as select details of the design). The other aspect of this scarf that I find particularly appealing is the combination of blue and grey as its predominant colours. Very very chic !

Collection SS2011: Marcelina

2011-01-01T00:43:00.009-05:00

Happy New Year !!!

What a joy to begin the new year with a brand new post, one that reveals a tremendous departure from what we came to expect from the Maison. A timeless saying teaches us that you cannot expect a new outcome simply by following the same steps in completing the tasks. In other words, to achieve different results we must attempt new approaches - and it is in this spirit that I will present the "Marcelina" design, a completely different pattern than any other I have seen in the long series of designs produced by Hermes since 1932 (the documented launched of the scarves, although the first scarves produced for the public were launched only in 1937).

This pattern looks much more appealing when the scarf is knotted, as it has a retro air to it yet the choice of colours gives it a very youthful flair.

May this be an encouragement for all of us to attempt a new approach to life's problems, an approach that may even prove more successful than before - and while the result is not guaranteed to succeed, if we don't take the risk, we surely know what to expect.

Collection SS2011: Brides de Gala en Finesse

2010-12-25T00:13:00.008-05:00

Today Christians the world over celebrate Christmas - Christ's birth. Christmas marks a moment to reflect and believe in the possibilities of rebirth and renewal. Christ's birth in Bethlehem, more than 2000 years ago, continues to represent a strong symbol of hope in a better future.

It is fitting, therefore, that I reveal the new Spring/Summer 2011 collection today (one carré at a time) for the new designs surely symbolize a new beginning. And while most beginnings come about as a reaction to an event (or an artist current) of the past, I thought it more appropriate to introduce the new collection with a design that embraces the Maison's rich artistic patrimony. Today's scarf is a reinterpretation of a 1957 design that, needless to say, proved highly popular with admirers and collectors of Hermes scarves alike: "Brides de gala en finesse". The "core" of the scarf design, the two bridles placed next to each other as if the horses sporting them walk in tandem but "look" away from each other, are now juxtaposed on a background depicting a fantastic creation. This background design reminds me of the lush hair of a fairytale princess from a storybook of my childhood, one that invites the reader to follow the individual hairlocks as if wandering on an unknown path, fully prepared - not as much to get "lost" but to discover just what such wanderings are about to reveal.

At first, I believed the background pattern had been computer-generated (it reminded me of the organic patterns that artists of computer programming can obtain by applying the Fibonacci series). A quick exchange with Florence, the gifted artist whose creation we are savouring in this post, revealed a design drawn painstakingly by hand. I encourage you to become an explorer yourself by visiting Florence's site (http://www.florencemanlik.com/) to get a complete appreciation for her creativity.

This very background embues a unique sophistication into the overall design, making the scarf much more feminine than its more simple predecessor, and thanks to the curves, both more gracious and more mysterious.

When tied, this scarf shows truly beautifully, instilling a sense of contemporary flair to this classic and an additional layer of sophistication for the person sporting it.

The colours of this design are somewhat pastel, with a beautiful green, orange (depicted above) and indigo (below) as the most impactful for me, although each one charms in its own way.

As the last thought for today, allow me to seize this opportunity to wish you a very merry Christmas, and a safe and happy holiday season !

Brise de Charm

2010-12-18T00:32:00.000-05:00

One of the most spectacular designs, despite its apparent simplicity, is "brise de charm" ("charming breeze"), a scarf depicting various fans beautifully decorated with horse scenes, birds, a lady's portrait and also floral patterns.

Recently I was thinking of my travels to far-away countries (such as Japan) and so I thought of the fan, this simple invention that became all-too-practical in the context of hot climates (in contrast to the heavy snow falls this winter, we need reasons to dream). The fan's delicate make and the skillful drawings on it render it an objet d'art, feminine by excellence, that never fails to inspire.

Au Fil de la Soie

2010-12-11T00:12:00.004-05:00

For my Birthday I got treated with something as spectacular as the Hermes silk scarves: a cologne named "Poivre Samarcande", part of the Hermessence collection. So I'd like to seize this opportunity not only to express my excitement, but also to reflect on the distances that merchants continue to cover in their relentless drive to bring customers the best the world has to offer.

The story of the "Poivre Samarcande" ("Samarcand Pepper") is equally fascinating and stirring. Samarkand is a city in Uzbekistan that provided the spice traders with a place to rest before continuing their long journeys to seek and acquire spices - hence, the city's location along the spice road made it well known. The peppery scent captured in the fragrance is thus both a reference and a tribute to the place that became so critical in the history of humanity.

While the scarf is also a tribute to the silk road, "Au fil de la soie" ("on the silk thread") reminded me of the journeys undertaken by so many merchants, traders and curious alike, who - unbeknownst to them - were such an integral part of the world's - and humankind's - history. The scarf depicts several scenes associated with the silk trade - of harvesting the silk, of transporting it, of processing it, and finally of turning it into spectacular elements of clothing, so delicate, so luxurious and so refined.

A great design, launched in 1995, by one of the most admired and prolific designers - Annie Faivre. Just as the fragrance name carries my mind and my imagination to the spice trade and long road the spices travel to us, so is this scarf makes me reflect on the long journey of the silk, meant to be admired, enjoyed and treasured by a privileged few.

Les Ballets Russes

2010-12-04T01:48:00.000-05:00

I am absolutely ecstatic to say that I managed to acquire tickets to the Mariinsky Ballet troupe's performance of the Swan Lake, scheduled for the beginning of March 2011 in Toronto (this is a treat I allowed myself for my upcoming birthday). The Mariinsky Ballet is a classic ballet company company based at the Mariinsky Theatre in Saint-Petersburg, Russia. Founded in the 18th century and originally known as the Imperial Russian Ballet, the Mariinsky Ballet is one of the world's leading ballet companies. Internationally, the Mariinsky Ballet is most commonly known by its former Soviet name the Kirov Ballet, a title which is still used by the company when touring. So you can imagine my excitement at the prospect of seeing the leading ballet company in the world in Toronto.

While "Les Ballets Russes" ("Russian Ballets") is a tribute to the artistic grace that this specific troupe elevated to the level of sublime through their performances (the best known dancer was Anna Pavlova, renowned the world over). So I couldn't think of a better scarf design to express my own enthusiasm and pay tribute, in my own modest way, to the joy that ballet, as an art form, brings me.

It is a spectacular scarf, rich in meaning and - delightfully - energetic. It manages to capture our imagination in a very harmonious way, captivating us with the stories the dancers are conveying strictly through body movement. Indeed, graceful would be the only way to describe their art of communication.

This scarf ties truly wonderfully, and is a joy to wear for anyone with an appreciation for dancers, in general, and ballet performers, in particular.

Collection SS2010: Brazil

2010-11-20T01:27:00.005-05:00

Last week I spoke about embellishments, so I thought it appropriate for this post to explore teh theme fo ornaments, the many objects we make a part of our own to enhance a certain trait (such as our eyes or lips), or as a wardrobe accessory – all for the purpose of to enhancing our appearance and embellishing our look.

The focal point of this scarf is the "dress”, made exclusively of natural feathers, used by native Amazon Indians as an item of clothing. Depicted in the each of the corners of the scarf is a matching tiara, a head crown of feathers that complete the costumes. And speaking of costumes, these elements have been highly employed in the Rio Carnival, touted as the biggest on Earth, where countless costumes are featured annually, as a reflection of the native Indians’ cultures.

First released as part of the FW1988 collection, it was reissued in 1991, 1999, 2000, 2006 (in gavroche size, depicted above) and again in 2009. Of interest is the reissue of this design as a detail of the original (depicted below), in 2001 and again in 2010 (in the gavroche and 140cm silk mousseline sizes).

This scarf ties beautifully and invites the admirer to discover its story and its history.

Flacons

2010-11-13T01:21:00.002-05:00

In a discussion with a friend recently, I recalled my childhood's favourite pastime of collecting things - stamps, little metal cars, even empty beer cans (after the fall of the Iron Courtain, when the market had been flooded with Western beers of sorts and the aluminum cans were an all-time novelty). Over time, the collections reflected newer interests of mine: airplane models, Italian silk ties, writing instruments; such collections took a life on their own, got wings and reached new heights, before my interests shifted onto objects that - perhaps - held a greater value in my eyes. Thus I began collecting other objects that will undoubtedly form a permanent presence in my life: books. Since times immemorial (ok, I'm exaggerating), I remember my interest in reading - since I couldn't travel (travelling abroad was a luxury reserved to a select few people of privilege), I have sought refuge in the stories, adventures and dreams captured within book covers - themselves embellished with vivid pictures, depicting glimpses of the lands within, other more "mature", leather-bound and with discreet decorations of floral or geometric patterns. My dream, in fact, is to own a great library where friends can find both sanctuary and inspiration. Thus have some objects stayed with me for a long time, and it's very likely they will continue to enrich my existance in countless ways.

To reflect the true spirit of collections, "Flacons" ("containers") features a series of bottles used by apothecaries to hold and offer medicinal potions or beauty liquids. Each one, in its creation, became a piece of art in itself, becoming a testament to the artists' creativity and craftsmanship. A classic scarf that ties beautifully (while the scarf displays wonderfully, it is the knot that captures the essence of the container's beauty and mistery).

En attendant 2011 ......Collection FW2008: La Rosée

2010-11-06T10:24:00.008-04:00

I recently had the good fortune of seeing samples of the new 2011 Spring/Summer collection and I must confess, I felt quite disappointed by the designs. As word has it, the collection is a tribute to the "artisans", the talented creators in the service of Hermes behind the art so dear to our hearts. I also like to think that the "year of the artisan" is an homage to all creators, of all walks of life, whose passions for the objects they give shape to, coupled with their relentless search for excellence, infuse life into their creations, which, in their turn, take our breaths away. So while the designs are short of spectacular, they serve as a reminder of the struggle that artisans (designers, craftspeople, experts and specialists alike) overcome in their creative process, sometimes with mixed results; yet, such results are necessary for the creators' self-improvement. And let's not lose sight of the creativity that nevertheless went into these designs, the constant commitment to impeccable creations, and the paramount effort dedicated to the vision. I anticipate to reveal some of these designs (starting with the one that marked me the most, entitled "Reve du corail" - "Coral Dream") shortly.

Before I embark on that journey, however, two more scarf designs came to mind, to reflect the recent experiences I had. Today's post will focus on the rose, the magnificent flower known the world over, whose beauty mesmerizes us: the richness of the petals enchants us, the breathtaking colours fascinate us and each flower's distinct perfume intrigues us. The rose has been equally portrayed as a symbol of life's (early) struggles, allegorically used to describe both the obstacles (thorns)-filled paths one has to follow to reach an end, and one's attempts to preserve the most valuable possessions.

Yet, for all the richness of our language, It is very very difficult to write about flowers. I mean, how could we? Just as many of the natural hues can never be reproduced on fabrics, words fail to describe the intensity of our feelings when we come across a spectacular flower, when we acknowledge the long process the plant has to undergo to bloom, and when we offer (or receive) a rose as a symbol of love, attention and affection. Moreover, every flower's uniqueness represents a challenge for anyone attempting to describe flowers in general. It is only through multiple writings, collectively forming a floral mosaic, that we begin to appreciate the flowers (and roses, in particular) for what they are.

As I'm about to head to a flower market, as I normally do early on Saturday mornings to pick up a fresh bouquet in season, I was reflecting on the presence - omnipresence - of flowers in our daily lives. They accompany every major event that punctuates our existence, from birth to marriage to mourning. More, when we talk of them, the conversation of flowers is rich of symbolism (the mysterious orchid, the virgin white lily, the passionate red rose, the immaculate and delicate snowdrops). Perhaps it's our propensity to use flowers as a way to express our amazement, doubts, anxieties and passions. Flowers - whether budding, in bloom or wilting on their way to obsolescence, be they simple or sophisticated, delicate or triumphant - certainly managed to captivate us and capture our imagination since times immemorial (think only of the Dutch painters, whose masterpieces, depicting flower arrangements, or whose creations, through the use of flowers or "petal painting technique", continue to fascinate us to this day).

The rose, illustrated on this canvas, is majestic - rich with petals, fresh when sprinkled with the morning dew, the depictions give the impressions of the flowers being alive, and we find ourselves tempted to reach over to caress them. The dark roses in the lower right hand corner (violet? black?) are not only breathtaking, but also intended to balance out the roses from opposite corner, so when the scarf it knotted, it intrigues the wearer and the admirer alike. The images (particularly the loose petals) equally appeal to our olfactory sense: the scarf left me wondering what those roses smelled like, leaving me longing for savouring the rose fragrance in all its beauty. This design was first launched in 1960 and reissued, starting in late nineties, early 2000s and again in late 2000, in silk twill, cashmere/silk and mousseline.

The design is an absolute proven classic. The "bouquet" of colours will instill a traditional feel or - alternatively - a sense of adventure; for instance, the two colour combinations featured above are illustrations of a more traditional design (the first, with its hues of light blue) and of the more daring kind (the second, due to the matching of unconventional, yet beatifully harmonious, colours).

L'ART D'ECRIRE

2010-10-30T00:34:00.000-04:00

It's certainly been a long time since a scarf design managed to take my breath away - until tonight, when, in search of inspiration for something spectacularly different, I came across "L'Art d'écrire" ("the art of writing").

Having an absolute passion for writing instruments, this design resonated with me instantly. The irony is that while I haven't been gifted with a beautiful penmanship, I am the first to admire a beautiful writing style. Or, perhaps, it is exactly because I don't possess it that I admire it whenever I see it. Or, better yet, because the art is so rare to come by, it's all the more precious. Either way, I feel a certain harmony and pure beauty exuding from the artistically crafted letters, their shapes, winding on the paper like paths through the valley conjured by mountains, enchanting the eye as do the sounds of violin in the intimacy of a private room. The path each letter draws is an invitation to discovery, to adventure, to beauty and to higher learning. Their music render a symphony to those inclined and willing to listen.

Released in 1957 and reissued in 1999 in moussline and in 2005 in silk, this scarf is as contemporary today as it was half a century ago, particularly in pastel colours. Its timelessness is likely due to the art of writing, which continues to fascinate people all over the world, who embrace it actively and instill its sense of beauty in the future generations.

Collection FW2010: Soirée de Gala

2010-10-23T00:01:00.005-04:00

This week I continued my exploration of the City of London, and while the museums were great and the food tasty, the epitome of the culture I found at the Royal Opera House, at Covent Garden. It was by chance that I had such an incredible experience. Not only have I been lucky to come across the tickets, but also, for the big opera aficionado that I am, I got to see Rigoletto, one of my all-time favourite operas. Needless to say, the experience was truly unforgettable, and not as much for the venue where the artists performed, as for the staging. The sheer number of singers provided both an insight into what the court of an Italian Duke would have likely looked like, and a depth to the performance (voice-wise) unmatched in many a performance.

"Soirée de Gala" ("Gala Party") is a rendition of the scene (read: commotion) in front of the (old) Opera House in Paris (Opera Garnier) with an arriving patron descending from a coach, other greeting and exchanging pleasantries on the steps of the imposing building, richly ornate to match the grandeur of the upcoming spectacle.

Issued originally in 1950, this design was recently relaunched in 2006 and, more recently, as part of the Fall/Winter 2010 collection. Jean-Louis Clerc, the artist behind this rendition, created other designs for the Maison, such as Armenonville (of 1961) where his "signature" style is obvious.

The scene leaves you anticipating excitedly the lifting of the curtain, just as the scarf, wonderfully wrapped around someone's neck and revealing - intriguingly- only brief snippets of the performance leaves you ever so mesmerized...

For added excitement, I'm attaching below a picture featured by Hermes in its fashion magazine. The scarf depicted in the picture is of cashmere, with fringes - a beautiful scarf that can be decidedly unisex with the right accessories (such as a pair of masculine boots, or possibly a "rough"-looking beard).

Collection SS2003: Trésors du Nil

2010-10-16T01:18:00.002-04:00

Having just arrived in London, I embarked, on short order, on a voyage of discovery inside the British Museum, not least to experience Norman Foster's creation in the Great Court, the glass-enclosed ceiling covering the old garden, now transformed in the largest square in Europe. But the highlights continue to be the Rosetta Stone, the engraved text of which provided the key to deciphering the Egyptian hieroglyphs, as well as the other Egyptian, Asyrian and Greek artifacts (such as the Elgin marbles).

Issued in 2003, "Tresors du Nil" ("Nile Treasures") opens a fascinating window into the ancient Egyptian civilization, as we know it today from such artifacts and texts.

This scarf, just like the visit to the Museum, is spectacular not as much for what it displays, but for what it allows us to imagine. Perhaps that is one of the most tremendous legacy such values - both cultural and philosophical - have succeeded in leaving behind.

The colour combination - particularly the crispiness of white silk's shine against the dark brown - is equally spectacular. Although the pattern along the scarf's edge may be traditional but I'd like to think that the pattern, just like the treasures of the river Nile, are timeless. And it's precisely because of its timelessness that this scarf can be sported by guys alike - although, if one might be concerned about the item's association with femininity, he could balance it with a pair of more rugged boots (an item distinctly masculine).

Les Girafes

2010-10-09T01:07:00.000-04:00

Lovely !

2010-10-02T00:08:00.000-04:00

Bibliothèque

2010-09-25T01:44:00.004-04:00

The last leg of my trip was spent in Romania, the place of my birth whose name alone triggers a unique vibration for me. For personal reasons (which I'll reserve for later posts), the trip has been full of very intense emotional experiences, and as much as I find them taxing not least because I love living and experiencing the world feelingly, I always find myself looking back with nostalgia for the place, in my heart, that is "my Romania".

I credit my own upbringing in Romania for the passion that I have been cultivating for books, in general, and for reading. And this post is most appropriate to pay tribute to the objects in our lives that invite us to discover places and people of far-away lands without leaving the comfort of our own home. I am definitely one of the folks who not only take refuge in the comfort of a book, but also use every opportunity to savour books published in Romanian (as an intimate part of the culture, the language is for all of us the most readily available mechanism that allows us to feel connected to our culture - and that couldn't be more true in my case).

"Bibliotèque" ("Library") depicts the treasures that we all strive to acquire in our attempt to quench the curiosity that takes hold of us from the earliest age.

A stunning design where the pattern of select books, suggestive of covers of glorious stories, are harmoniously matched with colours that stir the viewer. My passions for books and impeccable silk fabrics are perfectly matched in this design.

So I bid you farewell until next week, for I must hurry to shop for some new titles, which I'm only too eager to add to my own personal "biblioteque".

Trophées de Venise

2010-09-18T00:04:00.004-04:00

As I embark on a trip that will enable me to explore, admire and fall in love with Venice, I thought it perfectly fitting to live the excitement of experiencing the glory of "La Serenissima" ("the most serene", the name conferred onto the Republic of Venice) through the very design that Hermes chose in paying tribute to the city built in the middle of the sea.

"Trophées de Venise" ("Trophies of Venice") is an ode to the cultural richness offered uniquely by Venice, as the focal point of this design - the four horses depicted from an angle slightly to the right of the ensemble - makes obvious. The illustration is a direct reference to the Triumphal Quadriga, the bronze horses adorning the façade of St. Mark's basilica since the thirteen century (previously, they had crowned - appropriately - the Hippodrome of Constantinople until the city fell, during the Fourth Crusade of 1204, to the Christian armies; the Venetian troops were quick to "rescue" them by bringing them back to Venice; there was a further hiatus in their presence in St. Mark's square, thanks to Napoleon's wish to place them on the "Arc de Triomphe du Carrousel"; the originals have since been returned to Venice, where the exact replicas continue to look over St. Mark's square while the originals can be admired inside).

The corners above the horse ensemble depict further highly recognizable elements of Venice - St. Mark's basilica, with its eclectic architectural motifs, and two of the ubiquitous bridges across the lagoon canals, underneath which you recognize the gondola heads (whose iron, used to gain stability by counter-balancing the gondolier's weight, is a mini-map of Venice: the six strips called "pettini" (comb) represent the six "sestieri" (quarters); an additional long strip represents Giudecca Island; the double "S" bending represents the Grand Canal; on top is a stylized dogal horn and, under that, a lunette representing the Rialto bridge).

All around the apparent circles are illustrations of the domes found in the churches of Venice. Finally, the two peacocks placed in the middle of the lower half of the design are a direct reference to the byzantine art, ever so present in the Venice's architectural gems. Within the spiritual teachings of Christianity, they symbolize resurrection, renewal and immortality.

Needless to say that I'm thrilled to have the chance and opportunity to re-live the experiences I've been deriving from my readings on Venice, in real life.

Collection FW2007: Carnets de bal

2010-09-11T00:00:00.006-04:00

Ahead of my upcoming trip to Europe, I have been imagining the places to check out and the activities to fill my time with, and during this exercise in day-dreaming, I recalled another voyage of discovery to a place far-far away that succeeded to enchant me beyond my wildest expectations from the first moment I set foot in the airport. If you thought of my time abroad in 2007, you guessed correctly that I was referring to Japan, a land whose people (and beauty) marked me for life and continues to inspire me to this day.

During my time there, Hermes had launched "Carnets de bal" ("Dance Cards"), a design representative of the beautiful Art Nouveau movement. Dance cards, at their peak in the 18th century, served to remind society ladies the order of the dances they were to perform, along with the names of their partners (interestingly, mend eventually adopted them as well). As this design illustrates, dance cards evolved to elaborate "objets d'art", highly decorative objects often ornate with precious materials (silver, gold, ivory or pearls) and jewels.

The contour of the "frame" onto which the dance cards are displayed reminds me of the Parisian "Metro" entrances of yesteryears, designed by Hector Guimard, that added even further to the metropolis' charm.

This design manages to appeal to younger and more matures audiences alike, as it maintains its unique femininity both when displayed and when knotted. And one of my personal favourites, particularly since I associate this beautiful design with a place that I found most beloved !

Collection FW2007: Bolduc au Carré

2010-09-04T01:07:00.003-04:00

A model from the FW2007, "Bolduc au Carré" ("Ribbon Squared") is simply charming. The scarf design pays tribute to one of the subtle yet iconic elements of the Maison, the thin ribbon used to wrap the gift boxes.

The design illustrates a pattern of different coloured-ribbons, harmoniously weaved into a "cloth". It's an impactful design, perhaps a little mature in the colours that I featured, but definitely young in some more vibrant colours, as issued by the House since 2007, in both traditional silk scarves and cashmere/silk shawls. A truly timeless design !

Collection FW2007: Projets Carrés

2010-08-28T00:13:00.008-04:00

One of the more thought-provoking designs of the recent past is "Projets Carrés" ("Projects Square(d)"), launched as part of the FW 2008 Collection (my inspiration came from some ads I noticed posted around downtown Toronto, while riding my bike (I almost fell off my bike in fact seeing those pictures).

The composition is deceptively simple, featuring elements of the horse harness, most presented if not in pairs, at least symmetrically - stirrups, bits, straps - while select elements are on their own, such as a comb and (possibly a hip) strap). Yet the apparent "disorder" in which they are presented triggers a feeling of abundance. This richness is further enhanced by the alternation of the materials these objects are made of - leather and metal - two elements (one organic, one inorganic) that create a certain tension between them (the leather pieces make me think of objects of fetish, which, in combination with the whips, are meant to trigger the viewer's curiosity, sense of intrigue and overall admiration for the design).

What I particularly admire about this scarf are two aspects: one has to do with the very vibrant colour combinations (depicted is the anis green/olive green/brown/gray/copper orange; another design I recently remarked featured a white background against which the same elements are rendered in bright - almost "Valentino" - red). The second aspect has to do with the depiction of the border on the scarf: by way of "inserting" faint white "spots" within the solid border, the eye detects a textured fabric framing the objects captured inside. So powerful is the impression, in fact, that I, along with everyone I knew, felt tempted to touch it to believe my eyes (to the touch, that portion of the silk feels the same as the rest of the scarf). The impression of textured canvas serves as a great base onto which the depicted objects appear as if they are three dimensional (sensation triggered in part by the manner in which the strap, in the lower part of the composition, comes outside the border ever so delicately).

I get many questions about who could wear a certain model - or rather, what does the model best evoke. I'm happy to suggest that this pattern is very young, and even edgy. Indeed, a great design, one that appears equally beautiful when the scarf is knotted as when it is displayed. So wear it with confidence and you'll appear magnificent ! I, for one, have loved this scarf ever since it came out for the design is equally stirring and intriguing.

Collection FW2006: Touch Me

2010-08-21T01:47:00.001-04:00

This is a very interesting scarf, not only for the effect it has on those who seek its meaning, but also for the way it is built - the manner in which the effect was realized.

"Touch Me" is appropriately inviting the admirer not only to take note of what the design conveys, but also - or even more so - to reach out and feel the scarf. The design depicts a pattern that is - indeed - fur (or at least fur-looking). The effect is so powerful, in fact, that you'd be tempted to see what touching the scarf would feel like.

Upon closer inspection, however, you notice that what you took to look like fur is nothing but meticulous hand drawings, similar to the ones we "tried" our hands at, when we discovered the wonderous pencils (or crayons).

I'm not sure what this scarf would look like around someone's neck - but I can only fancy it would look both elegant and intriguing, and awfully warm!

Collection FW2010: La Vie du Grand Nord

2010-08-14T01:14:00.002-04:00

La vie du grand nord ("Life at the Great North") is a tribute to the spectacular life, its struggle and its beauty against immaculate surroundings, at the Pole.

The scarf has been imagined as independent scenes surrounded by "naive" drawings of iconic mamals of the area - reindeer (also known as the caribou in North America), whales, walruses and seals - that bring the story to a harmonious close (this design reminds me of the Pani la Shar Pawnee design, similarly constructed). The inner square depicts, as the focal point, a creation whose four white arms, like four tree trunks, spread in the four "corners" of the universe - perhaps a hyperbole for the source of life - each ending with a rich tree root.

Aline Honore designed this scarf and Hermes launched in 2004/2005; the image depicted below is part of the reissued series (belonging to the Winter 2010 collection), in different colour combinations (the one below is absolutely stunning, the kind of design that takes your breath away).

When knotted, the scarf does not appear as gloriously as when displayed, for the leaf motif, depicted in every corner, is a very abstract element that prominently displays when the scarf is knotted, thereby taking away from the glimpses of true North life that the scarf features in the middle - and which, in fact, not only make for the beauty of it, but also acts as the element of the design that gave the scarf its name; yet, I ancitipate that this will become a very admired and beloved scarf, particularly for those fashion-sensible ladies (and sophisticated gents?) who recognize that true success depends only on taking chances - in fashion as in life.

Collection FW2010: Ex-Libris en Camouflage

2010-08-07T05:07:00.004-04:00

"Ex-libris" is a Latin phrase that means "from the books" (often used to indicate ownership of the book). This scarf pays tribute to the very symbol of the Maison, the carriage, the splendid horse and the groom. Legend has it that Emile Hermes chose this design as his personal "signature stamp" on every book he owned, when he decided to bind each one in the same leather cover.

The design proved so successful and influential, it proved the inspiration behind the House's emblem because it best captures - and encompasses - the essence (and raison d'etre) of Hermes.

The camouflage, artfully obtained by countless silhouettes of galloping horses, adds a contemporary feel to this otherwise timeless symbol. Once I recognized the overall pattern, I laid my eyes on the focal point of this scarf, the "H", above which the unmistakable "duc" (the elegant calash), the groom in livery attending to the horse, and the noble horse itself, stationary, dreaming of mad careerings...

I find this particular pattern sublime, for its vibrant, unconventional colours infuse tremendous energy into the scarf, rendering it not only contemporary, but uniquely timeless. As only select patterns succeed, it displays as beautifully as it appears knotted. This scarf is a definite "hit".

The shot below, featuring this pattern, was chosen to represent this season's collection. Wonderfully conceived and skillfully depicting the scarf, this add equally intrigues and mesmerizes the admirer.

Back in May 2010, Martha Stewart decided to invite Hermes' North American President, Bob Chavez to her show (accompanied by scarf specialist Susie diCecco, the House's aesthete in charge of artistic displays of scarves). Martha, in her characteristic style boasting about how many scarves she bought as well as received over the years, was wearing this scarf in brown, appearing to have received it as a gift right before the show. Needless to say, it was impactful yet discreet (and utterly elegant) - the perfect accessory.

Collection FW2010: Cheval de Légende

2010-07-31T00:08:00.003-04:00

This design inevitably carries us back to our childhood and the wonderful world and heros' adventures we first heard from our parents, then read ourselves as our curiosity and thirst for discoveries made us come across the books ourselves.

"Cheval de légende" ("Legendary Horse") pays tribute to Pegasus, the horse brought to life by the Greek mythology. The legend recounts how the Greek hero Perseus cut the Gorgon Medusa's head off, and from the spilling blood Pegasus, a beautiful white winged horse, sprang to life. Ancient etymology links the name to water and springs: the so-called Hippocrene spring on Mount Helicon marked the spot where Pegasus struck a rock with his hoof. Its waters were a source of poetic inspiration.

On Mount Olympus, the gods' home, Pegasus was entrusted with the sacred task of carrying Zeus's thunderbolts, until he was tamed by Bellerophon (with the help of Athena, the protectress of heroes, who presented him with a golden bridle). Bellerophon, the hero charged with slaying the hybrid monster Chimaera by the Lykian king Iobates, slipped the bridle around Pegasus's neck while the horse was drinking, and climbed onto his back. Thanks to Athena's intervention, Bellerophon was able to slay the Chimaera. After Bellerophon's death, Pegasus rejoined the gods, and eventually became a constellation.

The reference to the constellation (named Pegasus) is wittily depicted in the design by way of the tiny dots, each sparkling with a magic light, that together depict the front part of a horse about to take off. As with many other designs, the horse brings so much energy to the scarf and instills in it the admiration that such a noble animal commands. The overall depiction is sadly lost when the scarf is tied - another testament to how this scarf manages to convey different feelings and moods, depending on how it's displayed. The apparent "rope", also made up of little stars, adds the element of border (as with a painting) to the design, and renders the scarf more interesting when knotted. Overall, a very contemporary design best admired for its non-traditional colours (the fuchsia and the green particularly stand out for their unusual hues).

It is also reminding me of the "pearls" design featured as part of the spring/summer collection - which I featured last week.

Meanwhile, so confident was Hermes in the success of this design, that it decided to expriment with it as the dial of the Arceau model.

Collection SS2010: Kelly en Perles

2010-07-24T00:00:00.006-04:00

The fascination with this scarf stems from two classics of our times: Princess Grace Kelly, whose rafinement and indeed grace has inspired countless artists to dedicate their creations to her and even name such creations after her, and the timeless pearls, themselves a symbol of immaculate purity, of valuable possessions and most importantly of treasured objects whose beauty is meant only to enhance the beauty of the wearer.

"Kelly en perles" (Kelly in pearls") is an exploration into the fantastic, a reinterpretation of classic aesthetic into contemporary tastes and standards. The actual composition, suggestive of colourful glass beads in the style of artists from Cameroon, confers upon the scarf a very tangible sensation - thanks to Hermes' fine-tuned and impeccable techniques of rendering 3-D objects into 2-D spaces. The focal point of this scarf is the timeless Kelly bag, itself formed by countless beads in a most realistic depiction.

The actual scarf is not necessarily at the top of my preference in terms of design (neither displayed fully, nor knotted), but it is most memorable for the pattern, reminiscent of the beaded coin purses so popular in the country side during my childhood in Eastern Europe, little treasures that continue to make me smile, even after so many years of having been burried in the back of my memory's "drawers". So in this sense, I perceive this scarf as triggering utterly "happy" memories for me.

Collection FW2010: The Rhythm of China

2010-07-17T00:17:00.003-04:00

Back in early January, I featured a design, called "Hermès en voyage", inspired by artist Ding Yi's work. This fall/winter design "Rhythms of China" is a very close interpretation of the artist's creations (one in particular springs to mind, namely 2003's "Appearance of crosses - 12" for instance). On closer inspection, the individual "pixels" are in fact delicate snow flake-like stars, forming a tight web of equal harmony and vibrant energy. When knotted, the dynamism of the pattern becomes not only visible, but also much more impactful. A very contemporary scarf suited for young stylish and mature sophisticated ladies alike.

An interesting detail about this scarf: it was launched in China by the Maison several years ago, and featured in an exhibit organized in September 2007 in Shanghai at the Shanghai Art Museum to mark 70 years from the launch of the first scarf, and 10 years of the Maison catering to the Chinese clientèle through local boutiques.

Regardless of when this design was released, this scarf is thoroughly impressive !

Collection FW2010: La Charmante aux Animaux

2010-07-10T14:26:00.002-04:00

This scarf draws its inspiration from the One Thousand and One Nights (known in English as the "Arabian Nights" from its first English language edition in 1706, which rendered the title as "The Arabian Nights' Entertainment"). In the centre of the scarf, seated next to the Persian King (Sultan), is none other than his beautiful new bride, Sheherazade, who mesmerizes him with story upon story (which she begins every night, but does not finish until the next night).

"La charmante aux animaux" ("the Animal Charmer") picks on one such story, telling of the animals who roam freely on this earth. As always with Annie Faivre, whose nickname is "little monkey", she chose to include the representation of a monkey in the detail of this scarf.

What I find interesting is that the design is very baroque in its richness, and the organic pattern that provides the background for the design; because of this, the scarf has a rather traditional feel to it (as opposed to lighter and asymmetrical motifs that would define it as more modern) and so I anticipate this scarf to be more appealing to a more matude crowd, despite the timeless theme.

Collection SS2008: Astrologie

2010-07-03T00:11:00.001-04:00

This design has been among the most popular designs that Hermès has produced. With this post I am taking a detour from our current collection so as to feature something spectacular and mesmerizing that's worth of at least one post.

Since its launch in 1963, "Astrologie" ("Astrology") has been reissued at least 17 times over the years. Its success has been so tremendous, that many recognizable stars have opted to sport a scarf depicting the Astrology design on the cover of magazines and making newspaper headlines (see below Jackie Kennedy, before she became "Mrs. Onassis", as well as Oprah on the cover of her magazine).

Conceptually simple, the design is spectacularly embellished to regal standards of beauty and harmony.

Collection SS2010: Chevaux Qataris

2010-06-26T00:00:00.005-04:00

An artist long admired for his intimate knowledge and unique ability to depict horses, bulls and (hunting) dogs (and a personal favourite of mine as well), Hubert de Watrigant has enchanted me again with yet another design. “Les Chavaux Qataris” (“the Qatar Horses”) is a tribute to the majestic breed of the Arabian Horse, whose distinctive head shape and high tail carriage commend so much respect and love from horse lovers and connoisseurs alike.
What you come to recognize is the particular dynamism of this design, due to the depiction of the horses as running freely across the folds of the scarf.

The renditions in the corners make me think of Native Indian artifacts - which may or may not be the case, although I did recognize, in the patterns along the edges, typical Argentinian belt patterns.

Perhaps designed as such on purpose, the horses at the bottom of the design are facing inward, whereas those in the upper corners are facing out - so as perhaps to inspire the admirers to look for more horses than the two heads seen in the corners, when the scarf is tied. I would have preferred to see all corner horses face outward, because the allure of their heads is so fantastic. What I do appreciate is that horses are depicted as bear different colours, depending on the background hue - white and brown, in the case of the baby blue background below (which have been paired on the same side of the scarf surface - so that when the scarf is worn knotted, the front corners depict different coloured horses). Wonderfully done !

One final aspect that contributes to the spectacular and elegant scarf: while the design has been launched first as part of the Fall/Winter collection 2008, this reissue is on the famous cashmere and silk mix. Indeed, spectacular !

Collection FW2006: Séquences

2010-06-19T20:38:00.008-04:00

I recently saw a report on Eadweard J. Muybridge, a pioneer photographer whose story is as fascinating as the invention that his name is most associated with - a technique he developed to capture animal locomotion, out of a popularly-debated question of the day back in 1872: whether all four of a horse's hooves left the ground at the same time during a gallop.

In 1877, Muybridge settled the question with a single photographic negative showing Stanford's racehorse Occident airborne in the midst of a gallop. This negative was lost, but it survives through woodcuts made at the time. By 1878, Muybridge had successfully photographed a horse in fast motion.

This series of photos taken in Palo Alto, California, is called "Sallie Gardner at a Gallop" or "The Horse in Motion" and shows that the hooves do all leave the ground — although not with the legs fully extended forward and back, as contemporary illustrators tended to imagine, but rather at the moment when all the hooves are tucked under the horse as it switches from "pulling" with the front legs to "pushing" with the back legs.

This scarf design is not particularly beautiful, but memorable for the tribute it pays to a discovery of our modern age. When knotted, the scarf appears quite traditional in both colours and pattern. The white background, however, renders it a classic though.

Ex Libris Limited Edition for Liberty of London

2010-06-12T00:26:00.002-04:00

This design is a visible departure from the usual creations of Hermes in that the "canvas" is no longer "clear"; instead, it features a rather heavily - albeit pastel and hence more mutedly so - floral pattern. The Maison used one of its previous patterns (hugely successful, the "Ex Libris") to print it on the signature busy floral pattern of Liberty of London.

Launched under the banner of "Hermes pops up at Liberty", this scarf design, along with a similas one in fuchsia and pale green, proved highly popular and hence sought-after.

Collection FW2010: Cent Plis de Miao

2010-06-05T03:25:00.004-04:00

I haven't felt so much enthusiasm admiring the Maison's designs for a while. Yet, like a fabulous find in a treasure chest - literally or figuratively - and I'm thinking here of a pair of shoes on a shelf in a tiny shop down one of those quiet streets in an upscale "quartier" (i.e. city district) – this scarf has filled my heart with excitement and joy and stimulated my imagination. So a tribute to it is very much in order.

Perhaps the design with the most promise of the Fall/Winter 2010 Collection – and one I particularly appreciate – "Cent Plis de Miao" ("A Hundred Pleats of Miao") pays tribute to the Miao culture and its nearly four million-strong people bound by it, living in China (the Miao people also live in Vietnam and Laos, where they’re called “Hmong”).

The dress depicted in this design is highly symbolic of the Miao culture and an essential element of it, whose name means “raw rice” – the dress is often mentioned in songs and folk tales, thereby becoming an integral and defining element of the culture. The fabrics are pleated, a technique believed to be inspired from (and reflective of) the mushroom gills. The finer the pleats, the higher the value of the dress.

Of particular interest is the creative craft of rendering the colours on the dress: the blue hues are obtained from a natural indigo pigment where the fabric, previously marked with wax to protect the areas (of the design) desired to appear white, is allowed to soak in the indigo dye. Once the desired hue is obtained, the fabric is remove, allowed to dry, then heated – both to remove the wax and finally to reveal the white patterns. The rest of the colours are embroidered by hand (a fantastic collection, consisting of similar dresses with no less than a thousand pleats is on display at the Musée du Quai Branly in Paris).

The darling of the aficionados and one of the most prolific designers in the service of Hermès, Aline Honoré has delighted us yet again with a design inspired from far-away lands, equally fascinating and mysterious. She chose to depict the dress in all its splendour, spread across a surface suggestive of another type of fabric design that the Miao women choose to wear tied around their legs, whose patterns of squares and lines are also representative of their culture. Reminiscent of the Brazil design of the previous season’s collection in the dress display, the similarities between the two designs stop here. The background is simple so as to allow the dress to shine. A truly beautiful – artistic, creative, sensible display worth the glory the Hermes silk twill brings to it.

Le Carnaval de Venice

2010-05-31T01:28:00.001-04:00

Today's post is the 100th on my blog, a landmark accomplishment worth being celebrated with a spectacular design that epitomizes the Celebration. To mark this accomplishment, I couldn't think of a better design than the original "Le Carnaval de Venice" ("The Carnival of Venice") by Hubert de Watrigant.

This design has withstood the test of time. After so many years and countless fashion trends, this design continues to fascinate me thanks to its vibrant harmony and mysterious dynamics, the Venetian masks depicted in every corner as well as the participants, dressed in character costumes. These elements, uniquely identifiable with Venice, are wittily depicted across the scarf elegantly and harmoniously. Interestingly, this mosaic of pictorials

As your eye focuses on the pictorial placed in the center of the scarf - depicting an equally impactful and prominent St. Mark's bell tower overlooking Piazza San Marco (St. Mark's Square), you notice the passers-by, themselves dressed in period costumes, admiring the symbol of the "Serenissima" Venice.

Perhaps more than anything, this is one of my all-time favourite designs, and what's a beautiful gift if I cannot share it with friends ?

Happy 100 posts, and may you savour many more posts whose subjects - the beautiful Hermès scarves - will continue to fascinate, mesmerize, and ultimately inspire you.

Collection FW2010: Très Kelly

2010-05-29T00:00:00.002-04:00

This design caught my attention not so much for the actual theme as for the freshness of the design despite its reminiscence to "Bolduc", a scarf issued in 1983 and reissued many times since, in different sizes and on different materials, to great success.

"Très Kelly" ("Very Kelly") is a tribute to the iconic element of the Kelly bag, and of many other successful Hermes bags: the leather straps (they are paired, one from each side) that secures the bag shut. Kelly is, of course, the name attributed to one bag model that the late Princess Grace Kelly carried. She was pregnant at the time and when confronted by a group of paparazzi, decided to keep the pregnancy away from their peering eyes so she covered it with her bag. This is the legend that saw the bag's baptized "Kelly" and gave birth to a cult around the world.

Unlike the "Bolduc" (which featured the object that gave its name to the scarf design - the thin ribbon used to tie gift boxes), "Très Kelly" features one element, absent from previous designs, that heightens the interest in this design: the metal clasp of the two leather straps - an element that breaks the monotony of the design by adding variety along the lines of the straps themselves visually, both by way of a different pattern (albeit discreet) and of a different colour (in that sense alone, the apparent randomness of the individual clasps reminds me of the flight of countless insects - be it ants or bees).

When knotted, the scarf illustrates the pattern in much the same way as the Bolduc scarf does, except the element of fetish here - the leather strap and the metallic clasp - confer this scarf a stronger, more confident personality, traits that the person who wears it (uniquely suited for both men and women) is likely to share.

Collection FW2010: Quand Soudain

2010-05-22T00:00:00.005-04:00

I am very excitedly welcoming the new Fall/Winter 2010 collection of Hermès scarves, just as the peony flowers have recently blossomed in Toronto.

The focus of today's post is "Quand Soudain" ("when suddenly"), a set of four instantanés ("snapshots") from Paris, depicting the Montmartre hill (with its highly recognizable symbol, the Sacré Coeur cathedral, the House's iconic flagship store and head office at 24, rue du Faubourg St.-Honoré, a close-up of a horse's head, a depiction suggestive of the equally iconic horse atop the House's building, and finally a horse in apparent flight.

What I find fascinating is the style of the story line, as told through images - reminiscent of the cartoons so beloved by children. I grew up with several -old- issues of the Pif Vaillant and Arthur (le fantome) magazines (back in the days, Romania was under Communist regime, so those issues must have belonged to other generations from another era), French comic strips (bandes dessinees) with lovely characters such as dog called Pif, and a fantome (Arthur) and their adventures both at home at on foreign lands, during their travels. The captions on this series of images, starting from the upper left hand corner and descending diagonally across, read - just like a comic strip text - "at the same time, in Paris, all was calme", followed by "when, suddenly" and "to be continued".

Although the approach of dividing up the overall scarf space into strips of different pictures is not new, this scarf is particularly charming because it contains so many references to Paris and to Hermès, which - themselves - trigger a certain fascination and instill in the admirers a desire to pack their bags and head to the Capital of Lights to enjoy its refinement. One reason I recognize such an effect of this particular design lies in its depiction of photo-like images, rather than partial pictures of previously released designs (of course, the air of nostalgia triggered by looking at those images, drawings replicating the real world, just like a children's comic strip, only adds to the scarf's beauty).

Disappointingly, the scarf does not pay necessary tribute to its design when knotted. The majesty is the design is simply lost, appearing simply as unidentifiable colour "stains", perhaps appropriately and skillfully achieved as a "vintage" scarf.

Collection SS2010: H comme Histoires

2010-05-15T00:00:00.001-04:00

The concept behind this scarf has been the ubiquituous designs found on older, leather-bound story books, so rare yet so dear to children and parents alike. Glacing over such sophisticated lettering carries my thought to the excitement that every child experiences upon seeing the parent, grandparent or otherwise the special person holding a story book, ready to enchant the little ones with the searches, voyages, free spirit, bravery and gentleness of heroes of times past.

My fascination with this design stems from the illusion of (time) traveling that this pattern induces - as my eyes glance over the entire scarf, from the lower half of the design (which is the focal point on the scarf) across its upper part, I perceive the design as one of those images associated with the sensation of gliding over territory from an airplane, or more appropriately a time capsule, at ever increasing speeds. The horizontal lines, reminiscent of the lines across a musical partition, send the viewer on a journey to the right of the book cover, expecting the reader to uncover the pages and dive into the fascinating worlds hidden beneath.

The scarf ties surprisingly gracefully, with its pattern showing only discreet elements of its design. Really wonderful !

Collection SS2010: Lilanga

2010-05-08T02:50:00.005-04:00

Featuring a fantasy design, this scarf took its name from the Tanzanian artist George Lilanga whose claim to fame were the paintings realized in the same style, featuring local village folk attending to various activities in their daily lives, portrayed in humourously with large ears, elastic and contorsioned legs and otherwise simplified facial expressions. These stylized figures and abstract splashes of colour alternate, to instill a movement uniquely captured by this design. Lilanga is thought to have painted his characters to reflection the image that he retained from his own years in primary and secondary school, years marked by a vivid happiness.

The story of this scarf is equally fascinating. Hermes Art Director Pierre-Alexis Dumas felt inspired to transpose Lilanga's paintings on silk following the former's encounter with Jean Pigozzi, the famous contemporary African art collector whose collection includes artwork by Lilanga and who has taken an interest not only in the discovery and conservation of African art, but also in the making process.

Of interest about this particular design is how balanced the entire scene appears, despite the busy patterns, given by both shapes and colours. Ideal for those who could rely on a cartoon-like pattern to enhance their beauty and - more importantly - complement their personality.

Collection SS2010: Les Dix Cavaliers

2010-05-01T05:01:00.003-04:00

An old legend tells the story of this horseman, riding endlessly across the vast world, never dismounting. Feeding only on the infinite spectacle of the thousand and one countries crossed, he meets nine other solitary horsemen in succession, arriving from every corner of the universe. Then, as if by magic, the ten riders get together and join up to form one single horseman, the carrier of all the legends. Brimming with all their knowledge, this rider continues to traverse the world, until the end of time. To illustrate this encounter, the design of the carre Les Dix Cavaliers has been divided into ten bands, each dedicated to one of the horsemen.

The pattern is reminiscent of the “Le monde est vaste” pattern of last year’s collection, in both concept and realization – with the original canvas “sliced up” and the stripes put back together in an apparent random fashion. Unlike the previous pattern, however, where the softer colours rendered the colour combinations harmonious, the horizontal stripes make this design appear fairly busy, thereby inducing a certain tension in the overall scarf. It definitely requires a strong personality to sport it, as the colours on their own – and the contrasting colour combinations are fairly strong.

Collection SS2010: Quintessence

2010-04-24T04:24:00.022-04:00

I have originally dismissed this design as incoherent (or should I say “dissonant”?), and while I continue to stand by my impression, I found the theme intriguing enough to merit a critique.

The title of this scarf is “Quintessence”, a direct reference to the mystic concept of the fifth element that defines our universe (throughout the human history, various cultures identified the four elements that together made up the physical space in which we live as “air”, “earth”, “water” and “fire”. Given their critical and intimate roles in our lives, they were referred to as “essences”; hence, “quintessence” – from the Latin “quinta”, meaning “five”, and “essentia” – “essence”).

In the classic science fiction movie with the same name, the fifth element that bound us together was love; in the world depicted by Zoé Pauwels, it refers to a movement of fantasy and mystery, describing the Genesis through music played by angels (similar to a previous design, by the same artist, called "la danse du cosmos").

With many large-sized elements, the focal point of this score is the ornate treble clef (also known as the “Sol” clef, the name of “G” in the solfege, whose shape is probably derived from a cursive “S”), to the left, juxtaposed with the equally ornate bass cleff on the right (the word “solfege” ultimately derives from these two syllables, “sol” and “fa”). They set the tone for the overall theme and invite the spectator to tune in to the other elements of this creation.

As my gaze sought the rest of the carré, I found myself overseeing the white object depicted in the lower half of the centre, and up towards what appeared as celestial skies. On closer inspection, however, I recognized an hourglass whose passing of the sand from one receptacle and into the other, measuring the passing of time, is perhaps reflective of the rhythm of music and life. The celestial skies may also carry the admirer – as in a fantastic world – to our galaxy, as a reflection of the universe that music creates – its place, at the top, perhaps not random in suggesting that music is indeed uplifting.

In the lower corners of the scarf, music springs out of the necks of two violins, as if to indicate that the substance of the cases themselves evaporated into the ether (the fifth element) and what’s left is the music. The upper corners echo the lower ones with harps – the instruments of the gods – from which music continues to flow in an enchanting way. Each of these instruments – real or imaginary, as if in a fantasy – rest on stars that shine over all creations (remember, the light is the most powerful and recognizable symbol of the Divine). Perhaps the most impactful are the two celestial stars along the main “North – South” axis of the scarf, appearing to shine brighter than any other.

Potentially missed during the first “interpretations”, each of the two angels in the upper half of the scarf are resting on the Sun and the Moon, perhaps symbolic of the beginning and of the end. Finally, take note of the existence of the astrolabes, signifying the human poise to reach beyond the visible limits of our world, to discover and explain the universe.

The design is not necessarily harmonious, but is arguably maintaining an internal equilibrium, suggestive of a moment suspended in space when the motion of the stars may be observed and appreciated.

The final word is that Pauwels' style is distinct enough as this design reminded me of "La Musique des sphères", most recently released in 2007.

A la gloire de la cuisine française

2010-04-20T09:41:00.004-04:00

Last night I had the great pleasure of meeting Mireille Guiliano, renowned author whose claim to fame came from her intimate involvement with Clicquot Inc., the owner of the Veuve Clicquot champagne (as the firm’s then-CEO, she is credited with resurrecting the brand, achieving double-digit sales growth year after year, and ultimately claiming 25% of the market of high-end champagne consumers). The context of my meeting her, however, had less to do with bubbly and more with her efforts to promote her new cookbook, entitled – stirringly – “The French Women Don’t Get Fat Cookbook”. I must confess I didn’t know much about the person, and less so about the content of the book, but her charisma and her encouragement for healthy eating aroused my curiosity and interest, so I went to the book-signing event in Toronto last night. Marvelous person (“un phénomène”, as I’d say in French) !

Her secret – wholeheartedly healthy, I’d add – is to have smaller portions, a strict three-meals-a-day regimen and embrace wholeheartedly culinary diversity. In fact, she is quick to point out that attitudes, above behaviours, must changes: people (note that I don’t restrict the term to just “women”) should consider cooking an act of love, where the results are immediate (unlike a business activity, which may yield results over a much longer period of time).

Anyway, what best to describe the experience than by offering a luxurious glimpse into the French cuisine? “A la gloire de la cuisine française” (“to the glory of the French cuisine”) is an ode to the many creations that continue to fascinate gourmands and general folk alike (Mireille insists meals should not be gulped in 5 minutes, as the brain requires about 20 to process that the body is satiated and hence the quick meals turns into added calories – besides, where is the pleasure of having and indeed savouring the meal?).

This scarf, designed by Robert Dumas (related to the founding family of Thierry Hermes by association and the first non-descendent leader of the firm) was issued in 1942 and reissued in 1989, followed by a 2005 all-cotton (70cm) version. Despite some elements that reflect that era (such as the folds in the table cloth – the gourmet items are layed out onto a clothed table – , which, by now, would give an impression of “out of fashion”), the appeal of this scarf continues. Of particular interest to me is the “sparse” design; unlike many other scarves, this one features elements that support the theme laid out as if served – independently – at a dinner table … so participants enjoy the entire experience fully. If cooking is an act of love, should we not employ all our senses to savour the experience ?

Collection SS2010: Les Poneys de Polo

2010-04-17T04:17:00.014-04:00

Typical Hubert de Watrigant, "Les Poneys de Polo" ("The Polo Ponies") uniquely captures the noble animals during both games and their time off. While the creativity is readily apparent, the originality of this "canvas" is not. In fact, this design struck me for how much it resembles last year’s “Chevaux Qataris” (“horses of Quatar”) and 1987’s “Monde du Polo” (“World of Polo”, reissued in 1998). The two previous designs’ “love child” ? Perhaps… Yet, it would have been much more refreshing to harvest the pony theme in a different … fashion.

Nevertheless, based on its own merit, this scarf is quite dynamic thanks to the ponies in motion (and to the jockeys in various positions). More, the background lines, each of a different width and all horizontal as if parallel to the “ground”, further enhance the dynamism of the design. Finally, the patterns all along the scarf edges - reflective of the Argentinian belts (in recognition of the small, muscular, wiry and agile ponies, typically Argentinian) - add a certain playfulness that enhances the free spirit of the players.

The colour combinations are quite contrasting, more of an exception rather than the rule when it comes to Hermes designs. In this case, yellow, cream and dark brown, next to each other, bring forth a vibrant undertone (perhaps reflecting the palpable tension during the games).

Unlike many scarves, that are quite versatile in terms of being matched (or complimenting) diverse patterns, shines, colours and textures, I’d be inclined to pair this one with a monochromatic blouse, unless it’s worn as a more “discreet” accessory, such as in lieu of a belt, or as a bandana. Undoubtedly a statement scarf !

Collection SS2010: Tours de Clés

2010-04-10T01:27:00.014-04:00

This scarf is a reinterpretation of the the "Keys" design so successful, so popular and so beloved in the House's collection. I consider the colour combinations unconventional in that they manage to be interesting without necessarily being top-of-mind when one thinks of combining some colours. The circle motif, adopted as the background of this scarf, brings a certain energy into a pattern, yet another element that contributes to the contemporary effect of this design.

Collection SS2010: Sur les Rives du Léman

2010-04-03T01:26:00.000-04:00

This scarf pays tribute to the remarkable Lake Geneva and, in particular, to the memorable times visitors and locals alike are inspired to have. Lake Leman (the French name of Lake Geneva, whose shores are shared by Swiss and French) has been a symbol of high-life, of an oasis and of an unperturbed atmosphere whose waters are crystal-clear (as a testament to the care about the environment and the high standards of quality adopted by Swiss and French alike).

"Sur les rives du Leman" ("On the shores of Lake Leman") has been realized in the impressionist style, with silhouettes in lieu of picture-clear depictions of people - just as someone would remember after years following a particular event. The sail, forming the focal point of the scarf, may also be suggestive of the "jet d'eau", the large fountain and one of the City of Geneva's most famous landmarks, that jets from within the lake high up, making it one of the tallest fountains in the world.

Just as my memory of 2005 of the main shopping street in Zurich on a lovely autumn Saturday, when folks dressed up with hats, furs and walking canes were enjoying the beautiful weather, the characters depicted in this design appear dressed elegantly for their "time out on the city", which adds further character to the "canvas" itself.

Finally, the scarf was issued in the "vintage-style" silk, in 70 cm x 70 cm. The technique that renders the "picture" so lovely is unfortunately lost when the scarf is knotted, making it appear more like an ordinary scarf than anything extraordinary the Maison is known to have produced in the past. Yet I perceive this design as a lovely exploration and experimentation.

Collection SS2010: La Légende du Poisson Corail

2010-03-20T01:20:00.007-04:00

This design, entitled “La Légende du poisson corail” (“the legend of the coral”) is a tribute to the very fragile universe created by corals – veritable marine oases where countless species of fish and plants find shelter from the dangers of their mysterious universe – and fertile ground to flourish.

The design features a coral reef, encircled by a prominent ring, mirroring that of a coral atoll. The richness of the surrounding universe – and that within – is represented by the colourful impressionist brush strokes, suggestive of the shimmerings of the water. At the centre, the fish, adopting camouflaged costumes to merge with the surroundings, took refuge among the corals to escape predators. Bars, streaks, diamond-shapes … mimicry blends with fantasy to create a magic world. At each of the corners of the carré, stylized flying fish symbolize the harmony between the heavens and the world below the waves.

This design strikes me for its resemblance to "De Madras à Zakynthos", despite the two different artists. The design is quite effervescent, with most of the design colours quite vibrant and contrasting, so it takes an equally powerful personality to pull it off.

Collection SS2010: Pelages et Camouflage

2010-03-13T01:13:00.007-05:00

This scarf is an ode to the infinite inventiveness of Nature, to its diversity, in all its splendour, and to the most visible gift endowed upon all creatures - their "habits". Pelages et Camouflage ("Coats and camouflage") is equally a tribute to the human nature’s creative drive to mirror the beauty of nature.

From her native Africa and her imaginary travels, Aline Honoré has brought back a mosaic of the sumptuous, the exuberant and the wild. This scarf is a patchwork mixing up these treasures of primitive prints, sewn together and embellished with necklaces of Massai pearls in between, from Senegal and from Ethiopia, a Peul wall-hanging, fabrics from Ghana, Zaire, Mali and craft embroidery. Among all these protective disguises, notice that of the imaginary animal, marked by H’s, taking cover among the rest.

A truly magnificent scarf that ties wonderfully as it displays with impact and class.

Collection SS2010: Brides Rebelles

2010-02-27T02:27:00.010-05:00

Another design that I found appealing is the "Brides Rebelles" ("rebellious bridles"), depicting multiple pieces of the horse's harness in an apparent disorderly state. The appeal stems from the pattern's apparent harmony in spite of the "disorderly" hardware. More, there's a certain tension surrounding this creation - tension given by the connotation of straps suggested by the envelopping leather bridles (with a strong fetish undertone). Yet, the image is mysteriously balanced thanks to the loose ends that succeed in dissipating such potential tension.

The inspiration for this design came from a photograph of actual headstalls, manufactured by the House for the Polish Earl Zapotosky. These very briddles were the subject of very fond correspondence between the 4th Hermes president, Robert Dumas, and the curators of the Royal Castle National Museum in Warsaw.

The actual briddles had been laid on the ground and photographed, from which the actual drawing was realized. Of note are the family crests on the hardware, discreetly and elegantly displayed.

The casual tone of this scarf, as well as its "non-conformist" colour combinations of the pattern, are equally appealing. The ones featured here offer a good glipse (mustard yellow as the predominant background, above, and the taupe for the knotted one, below, are only two of the variety of colours that enchant the eye) into the youthfulness of the pattern.

A true ingenious design that attains harmony by depicting elements in no apparent order - one that is likely to become an instant hit with the collectors and admirers alike. Fantastic !

Collection SS2010: Les Dômes Célestes

2010-02-20T01:21:00.000-05:00

One of my favourite designs is entitled "les domes celestes" ("the celestial domes"), whose patterns have an intrinsic harmony despite the apparent randomness of the forms depicted in it.

As I came to discover and appreciate, many microorganisms mirror large ones that can reach spectacular dimensions - such as a human hair, which, under a powerful microscope, reveals striking similarities to a tree trunk - so it is not surprising (rather I find it fascinating) that the individual elements of this design are suggestive of the shells of exotic marine creatures, despite the celestial suggestion of the title.

Yet, on closer inspection, this pattern reveals a mystery that even the initiated eye is in for a big surprise. This scarf pays tribute to the architects, engineers and builders whose imagination, courage and perseverance in overcoming some of the highest technical difficulties produced legacies of utmost, arguably divine beauty. The design depicts eighteen cupolas - ceilings of chapels and palaces from around the world. The initiated eye can identify the dome of the Saint-Paul Saint-Louis church in Paris, the new synagogue of Szeged in Hungary, those of the great mosques of Cordoba and Constantinople, the church of Saints Peter and Paul in Krakow, and even the audacious triple dome of the sanctuary of Valinotto, near Turin.

This scarf ties wonderfully, with the pattern revealing wonderful asymmetrical shapes, which are further enhanced by the "threads" that enrich the design, suggestive of a festive setting where such "threads" are hung from the ceiling in an elaborate decor.

This colour combination in particular is quite impactful.

Collection SS2010: Fairytales

2010-02-13T02:13:00.004-05:00

Expected with a great deal of anticipation and renewed hope, the Spring/Summer ("SS") 2010 collection was received with mixed feelings. On the one hand, the new designs stirred the admirers and collectors of the Maison's silk creations alike; on the other, many felt the scarf designs have fallen short of the "timelessness" test. Instead, the followers' opinions, shared by me as well, echoed a single strong sentiment: that with few exceptions, based primarily on colour combinations rather than the patterns themselves, the individual creations were reminiscent of previously released designs, and meant to appeal to tastes beyond those of the loyal Maison followers. Is the Maison attempting to appeal to a younger generation ? Or should we celebrate instead the endless creativity that Hermes is recognized for, even when such attempts may not elicit the anticipated reactions ?

Today's post features the scarf pattern that imposed its theme - and title - to the entire collection: "Fairytales". The design, suggestive of a children's drawing, brings together the many characters that filled countless children's (and parents') evenings while fueling their imagination. Some may argue that the characters depicted in this design are the ones that became children's intimate friends and have remained loyal to them throughout their lives. Fascinatingly enough, these tales set strong examples in every child's mind, thereby instilling the society's and parents' values from an early age, and in this respect, preparing the audience for life in an engaging, yet psychologically safe, journey of discovery.

I find the pattern very busy, and while the pastel colours are soothing, I find the scarf's appeal is diluted by the heavy and convoluted design. I would even go as far as saying that the "drawings" in their entirety are somewhat aggressive, bringing a certain tension to the overall design, in stark contrast to what I'd expect to see in children's books. It would definitely fit the "fantasy" pattern, where the elements coexist all at the same time without necessarily being linked by either time or activities... fantasy perhaps reflective (and defining) of the entire collection. Yet I don't anticipate this design to be one of the many sought-after ones that their beauty and appeal have turned them into desired collectibles.

Collection SS2006: Regarde Paris

2010-01-30T01:31:00.001-05:00

I have introduced several days ago a magnificent scarf that illustrated the Maison's legendary establishment at 24, rue du Faubourg St.-Honore, as perceived through a kaleidoscope. Today's post features an equally enchanting view captured on canvas, as perceived through a telescope.

The instrument, believed to have been invented by Hans Lippershey in the Netherlands in 1608, has been improved the following year manyfold by Galileo Galilei (considered the father of modern science thanks to his remarkable research, discoveries and inventions in the fields of Physics, Mathematics, Astronomy and Philosophy). It is thanks to the telescope (or spyglass) that objects far into the distance can be seen at arm's length ("Science has eliminated distance" as Gabriel Garcia Marquez famously wrote in "100 years of solitude"... and the character Melquiades wittily proclaims: "In a short time, man will be able to see what is happening in any place in the world without leaving his own house").

Issued in 2006, "Regarde Paris" ("Watch Paris") is an invitation to discover the City of Lights. The scarf zooms in on the soul of the city - l'ile de la Cite - the name of the larger island on the Seine where the first documented settlements occurred.

While the image is lovely, one can discover, upon closer inspection, that the illustration is created by thin lines suggestive of a pencil drawing, which, on its own, would render those particular details perhaps too abstract when the scarf is worn or even folded. The white inner corners however bring a visual balance to the scarf when knotted, and this particular colour combination of orange, white and black, is a lovely "piece de resistance" in anyone's collection.

Collection SS2002: Musée Vivant du Cheval

2010-01-16T01:10:00.000-05:00

The interesting aspect of this scarf is that its title is as much symbolic as it is real. The "Musee Vivant du Cheval" ("Living Museum of the Horse") is dedicated to the establishment in Chantilly, France (housed in the Great Stables of the Chateau de Chantilly) committed to the equine art and culture.

With a long history to build on (the stables were erected in 1719 by Louis-Henri, duke de Bourbon, who believed that he would be reincarnated as a horse and hence commissioned the architect Jean Aubert to build the stables so as to reflect the majesty of his rank), the Living Horse Museum draws countless crowds from all over the world, who undertake the trip, some 40 km North of Paris, to admire the horses, of some 30 different breeds, following daily routines. In addition to various exercises, the horses take part in "educational" demonstrations, where riders, dressed in the museum's period costumes, lead the horses to perform "airs" for visitors.

The scarf captures such "airs" performed by the horses, while the middle reveals an additional illustration of the actual museum building. In his traditional and renowned style, Hubert de Watrigant (the painter who created this design and whose select creations are exposed inside the museum) has depicted the horses with accuracy and with a great sensibility for the detail.

A pleasure to wear, the scarf shows beautifully around someone's shoulders or neck.

Collection FW2007: Pani la Shar Pawnee

2010-01-09T01:13:00.000-05:00

This design is the fruit of the talent and effort of an unsuspected artist, Kermit Oliver, a native of a small Southern Texas town called Refugio. A mail sorter by day and a prolific artist during his leisure time (he is said to paint at his kitchen table), Oliver was the first American artist to design for the Maison. He describes himself as reclusive, almost ascetic, an individual who communicates and expresses himself through art (he is equally notorious for spending hours on end outside galleries where his art was exhibited, not being able to decide whether to step inside or not).

This design depicts a Pawnee Indian chief. Of particular interest is the character's face, which is not only complex to realize graphically, but also very expressive. As a point of reference, a regular scarf may be subjected to 25 separate colour applications to render a particular design; this scarf required 36 screens, of which 11 alone to convey the skin tones in the face. As a result, this design famously remains one of the most complex ever produced by Hermes.

Released in 1982, this scarf has been reissued numerous time thanks to the wild popularity of this design. It ties wonderfully, thanks to the Native American motifs playfully arranged along the edges and illustrated on top of apparent geometric lines, and due to the many releases in numerous colour combinations, this design is sure to appeal to almost anyone with a discerning taste.

Feux du Ciel

2010-01-09T01:09:00.002-05:00

I must confess, I had disregarded this design at first, likely because of the colour combination of the scarf that I first came across, yet as I discovered other colours, I realized that there was a certain passion and harmony intrinsic in this design.

"Feux du ciel" ("Sky Fires") depicts fireworks - or even comets whose incandescent tails leave trails of fire behind them - against a starry night. The viewer appears to be drawn into the unknown with a great deal of anticipation for the object - or person - that is about to appear, born from the "fire" that several such objects, taking center stage, create. So after a second review, I recognized the intensity of the image and the passion it triggers.

This pattern was first issued in 2000/2001 - in both silk and cashmere/silk combination, and again in 2003/2004.

While I haven't seen this scarf knotted, I anticipate it renders the scarf stunning - particularly when the contrasting colours are revealed (or hidden) in a knot.

Hommage au carré

2010-01-02T01:10:00.000-05:00

Happy 2010 !

I have searched for a design that was symbolic of a new beginning, a new direction, a new outlook on life, renewed hope and optimism - to represent the beginning of a new year (and of a new decade). Something dramatically different - and my mind set on a scarf Hermes has created in a limited series of 200 pieces each last year available exclusively through its Paris boutique at 24, rue du Faubourg St.-Honore.

"Master" and Bauhaus teacher, initiator of the Op Art movement (op art, short for optical art, is a genre of visual art that explores optical illusions), Josef Albers (March 19, 1888 - March 25, 1976) was a German-born American artist whose work, both in Europe and in the US, formed the basis of some of the most influential and far-reaching art education programs in the 20th century.

Starting in the 1950s, the artist created a series of paintings entitled "Hommage au carre" ("tribute to the square") that served as the inspiration for these scarves. Hermes has kept true to the originals. Veritable paintings on silk retracing the artist's research on the interactions of colours, these scarves pay tribute to Albers' contribution to the world of art as well as to his continuous explorations of the power of colours.

The upper picture is entitled "Joy" whereas the one below is called "Greek Island".

These scarves have retailed for € 2,000 apiece.

Collection FW2009: Zabavushka

2009-12-26T10:25:00.004-05:00

I thought it appropriate to end 2009 with a post that reflects the Christmas season - while paying tribute to distinguished craftsmanship, artistic sensibilities and vision.

A friend once confessed that he was dreading Christmas because he felt very lonely, and this holiday triggered a longing for real friendships perhaps as much as he recognized he had none. While his statement was surprising, I interpreted it as a profound need to connect with people, and experience a sense of belonging.

Such statements - and such longings - resonate with me and, while they may come across as dramatic, I love the profound and meaningful friendships that I have been only too fortunate to have come across and cultivated.

Christmas, for me, marks a time to pause, to reflect and to believe in the possibilities of rebirth and renewal (Christ's birth in Bethlehem so long ago remains a powerful symbol of hope in a better future). It is also a time when we renew our stock - symbolically or effectively - with gifts that are strong symbols, in my mind, of the spirit of renewal and renewed hope. So it is in this spirit that I picked "Zabavushka" as the perfect Christmas item.

Russian for "fun", "Zabavushka" is a composition of references to various children's games and heroes from children's tales. It reminds me of the coffers of toys I always imagined children to have (I was never that lucky) that open up to reveal entire universes hidden away by a simple lid. While many toys are universal (the train and locomotive, the castle, the horse, the rider, dolls and lettered cubes), the design equally contains elements that make reference to specific Russian traditional folklore or fairytales, artfully inserted throughout the scarf (the matryoshka dolls, the ornate turkey, the horse rider and the dancer). The assembly of all these elements is somewhat disorderly, perhaps symbolic of the contents inside a toy chest. Given the busy design, this scarf is more appropriate for someone with a strong sense of self who wouldn't shy away from displaying it.

Thanks to the rather incongruous design, I loved the message this scarf sends: despite a mishmash of messages and items, perhaps even dissonant gifts, Christmas is a time to celebrate and to find comfort in folks thinking of us, sending love and thoughts our way, and even finding sometimes the perfect little gift to uplift our spirits.

2009 is coming to an end, and with it we choose to remember - or forget - the events that took place throughout the year. An end means also a new beginning. As our hearts fill with joy, as the hours shine more brightly and as our hopes blossom, may we all welcome 2010 with renewed energy and optimism, and enjoy good health, accomplishments and inner peace throughout the new year and beyond ! Happy New Year !

Fêtes Vénitiennes

2009-12-20T01:03:00.005-05:00

This is a reinterpretation of the "Venetian Feasts" composition on cashmere/silk. The colours are autumnal (in particular the border's aubergine, forest green and mustard orange), yet the twirling ribbons, the Venetian masks and the dressed-up characters depicted around the center instill a playfulness reminiscent of the nature's rebirth, a sentiment that only a select few designs achieve.

The focal point is a rendition of Piazza San Marco (St. Mark's Square), the administrative, social and cultural heart of Venice.

I have been fascinated by this scarf from the moment I discovered it in someone's very lovely treasure chest (she herself a uniquely lovely lady) and I continue to find it enchanting in all aspects.

Unlike pure silk, whose weaved fibers tend to render the finished product a little more rigid, the make-up of this fabric (65% cashmere, 35% silk) allows the scarf to lay graciously around the wearer's neck, shoulders or waist, instilling an enchanting elegance, different than the effect of pure silk yet equally distinguished. The texture itself adds an additional layer of depth to the design, the herringbone pattern of the weave becoming visible from close-up.

Collection SS2005: Onde de Chic

2009-12-19T09:03:00.005-05:00

I settled on this scarf today not only because of its playfulness, but also because the image of the horse inside the pattern is like a treasure discovered in the days before Christmas - when, as a kid, I used to rummage through the entire house in search of "Santa"'s gifts. Often times I managed to find them successfully, and the excitement increased exponentially in anticipation. As a grew older, I gave up the searching part, but I held on to believing that a gift is even more impactful if it's something I want, and less so if, upon opening the package, I'd discover something I didn't care for. So ordering my own gifts continues to be a way of life for me.

Dimitri Rybaltchenko created this design in 2005, depicting two super-imposed images of the same "onde de chic" ("wave of chic") pattern, slightly off-center relative to one another, with the one in the background of the same colour scheme but faded in intensity. Within the pattern there's the image of Pegasus, a winged horse that appears to be in flight towards the viewer, wings spun across the entire upper part. The horse, its noble spirit transcending its image, gives both distinction to the scarf and instills the element of surprise, so treasured by many.

For me, the horse image inspires freedom and fills my lungs with energy and my spirit with enthusiasm.

This scarf ties wonderfully, and the same colour palette allows the wearer to emphasize his/her best features through it.

La Réale

2009-12-16T18:31:00.012-05:00

I have been struggling with this post for several days now, for I wanted to pay tribute to another Hermes design classic yet the feelings that this design triggers are, for me, mixed: the glory of this luxurious and imposing galley, world-famous and recognized for its symbols, is shadowed by the image of the many souls condemned to hard labour working the oars under the deck. The contemporary depiction of that social stratification was beautifully captured in James Cameron's "Titanic", albeit in a less intense if somewhat romanticized manner.

"La Reale" ("the Regal one") was the venerated galley in the service of King Louis IV of France. In the French nomenclature of galleys, a "regular" galley had 26 pairs of oars, with 6 oarsmen per bank. "La Reale" was considered an "extraordinary" galley as it had 32 pairs of oars with the same number of oarsmen per bank (6). The design depicts the stern (back) of the galley, in all its splendour, thanks in part to the impressive size and in part to the opulent decorations, symbolic of the opulence at the court of the "Sun King". Of interest is that the design itself is not depicting the oars.

The galley is illustrated within what appears to be a canopy, depicting the French royal insignia - the "fleurs de lys" ("lily flowers"). The tassels from each of the four corners give the tie a more traditional "feel" when the scarf is knotted. Similarly, the colour combination of this scarf is more traditional - particularly the "royal" blue and the gold accents, although more recent reissues of this scarf inspire a more contemporary "feel" thanks to a limited variation of colour combination (a predominant soft green, for instance, makes the scarf feel younger and contemporary). One such design combination had a burgundy border, a white inner border and a overall burgundy illustration, which again made the scarf very chic without coming across as too traditional or "antiquated".

Collection 1997: Ciels Byzantins

2009-12-15T08:53:00.012-05:00

At first I found this design too busy and too traditional, but my thoughts carried me back to it when I listened, the other day, to Nana Mouskouri's "Amazing Grace". The song triggered not only a feeling of spirit uplifted, but also a particular piety and a profound reverence towards the forces above us that guide us through life and which ensure that we will fulfill our destiny (forces that I accept without questioning - first, because my mind is too limited either to understand or visualize what they are; and also because this is the very definition of a believer - one who believes, therefore who has no need to question - and I consider myself a believer).

"Ciels byzantins" ("Byzantine Skies", Julia Abadie, 1997) is an homage to the tremendous influence the Byzantine arts and sciences have had on other cultures and to the development of modern societies.

The Byzantine (or Eastern Roman) Empire was the Roman Empire during the Middle Ages. As the distinction between the Roman Empire and the Byzantine Empire is purely a modern convention, it is not possible to assign a date for its birth, but conventionally the transfer of the administrative capital in 324AD from Nicomedia (in Anatolia) to Byzantium, on the Bosphorus, by Emperor Constantin is a major reference point (alternatively, the "birth" of the Byzantine Empire is considered with the renaming of Byzantium in 330AD to "Constantinople - and the formal creation of Emperor Constantin's city); the fall of Constantinople to the Ottomans in May 1453AD is associated with the fall of the Byzantine Empire). The Empire remains one of the most powerful and influential empires in Europe - economically, culturally and militarily.

The corner fans, featuring intricate patterns typical of Byzantine interior mosaic decorations, are a direct reference to the apses inside Byzantine churches (the technique of building circular domes was invented by architects of the Byzantine Empire by way of a complex system providing for a smooth transition from a square plan of the church to a circular dome or domes; so these "fans", representing domes, symbolize one of the greatest breakthroughs in Western architecture). I can almost see the images of Christ, of the Virgin and of other Saints painted up there .....

Early Christianity adopted the peacocks as symbols of immortality and illustrated them in paintings and mosaics, so of interest is the depiction, in this scarf design, of the two peacocks by the entrance archway.

Finally, the squares between the arches, as well as all along the border, depict typical intricate patterns illustrating Byzantine interior decorating motifs, completing this design rich in symbols, as is the Byzantine culture.

The aspect less visible in this picture giving the scarf a further element of exquisite beauty is the jacquard silk, with a peacock pattern weaved within the fabric (here's a close-up picture of the same design in a a different colour palette).

The way the song (and Nana's interpretation of it in particular) has such a profound effect on me, of piety, of reflection and of gratitude for all we have and equally don't, so does this scarf instill in me a sense of hidden beauty that not many experiences in our life reveal unless we're open to recognizing and appreciating it.

Collection SS2005: Hola Flamenca !

2009-12-07T23:10:00.009-05:00

Today is my birthday, and so it's only appropriate that I feature a scarf that I consider to represent me best. At first, I picked a dip dye scarf for I thought both it and I are unconventional. Yet, a very dear friend of mine disagreed, pointing out that its overall spirit does not encapsulate mine. So I embarked on a search for a scarf that exudes vitality, exuberance, love of life, sophistication, and - naturally - artistry. What came to mind is the "Hola Flamenca!" design of 2005, by Dimitri Rybaltchenko (a tremendously talented and prolific designer whose unconventional creativity often results in truely magnificent creations), and indeed, now I can say decidedly that THIS is the one !

There's something else fascinating about this scarf: its intense (yet subdued) colours, suggestive of a profound spirit, sensitive, compassionate and very generous. Definitely Costin !

I love how vibrant the design is, and how full of life the entire picture is, and how its name denotes the sensuality of the female artist displaying her grace on Andalusian rhythms. A wonderful design that shows beautifully knotted.

I would equally venture to say that this entire scarf is "bigger than life" - as I would like to be remembered - and I consider it a good reflection of me as well.

My friend has also confessed to wanting, one day, to own a dress like this one, to spread open, twirl and be drawn into its mesmerizing waves.

Collection 1999: Cosmos

2009-12-04T09:50:00.004-05:00

Today's posts continues the day's "travel" theme by transporting the viewer to a totally different universe.

Cosmos is a scarf originally released in 1966. The design, by Philippe Ledoux, was popular enough with the Hermes admirers to command subsequent re-issues, in 1991-1992 and in 1999 (and again in 2003 in 140cm cashmere/silk combination). Each series had many different colours, from the darker, more mature hues of blue, green and burgundy to other more "playful" colours. I picked the yellow colour to display the theme because I find it both different and uplifting. The four corners depict chariots reminiscent of Apollo carrying the Sun across the skies. Albeit traditional, this design is a "classic" of the Hermes collection.

A more recent reinterpretation of this scarf, in 2003 - depicted below - marks Air France's 70 years anniversary. Note the added text around the centre image ("Air France 1933-2003), the superposed hippocampus (the company's logo, representing a mythical sea horse with two forefeet whose lower body resembles that of a fish and ending in a dolphin tail) as well as a plane underneath it.

Legende Kuna: Peuple de Panama

2009-12-04T09:38:00.010-05:00

This scarf, by Zoe Pauwels and issued in 2002, depicts a truly magnificent illustration of stylized animals and birds, symbolic of the artform of the Kuna people - the name of an indigenous people of Panama and Colombia. The colours, reminiscent of the textiles proudly made and worn by Kuna women (famous for their techniques of appliqué and reverse appliqué of weaving) are vibrant and very warm. The design is harmoniously rich and shows beautifully when the scarf is worn.

Homage to Japan: Ginza 2001 Limited Edition

2009-12-03T11:14:00.003-05:00

One of my favourite scarves, depicting - in my mind - the true Japanese spirit of exquisite beauty through simplicity, this limited edition is a fabulous scarf both to wear and to display in a frame. Ginza is a "quartier" (district) in Tokyo world-famous as the "shopping Mecca" of Japan. The most resonant names in retail world-wide opened shop here and have been mesmerizing consumers with their creations. Hermes is no exception: the Ginza boutique rises some eight stories high and lures admirers with a vast selection of items and choices, far beyond your "average" Hermes store. As the real estate in Japan is at a premium (and Tokyo's in particular is exorbitant), most retailers choose to develop and grow "vertically", so the shopping experience remains tremendously rich despite a rather limited footprint of the location on the ground. The sensation of a world apart (within a world apart, particularly for me, as a European living in North America) is further enhanced by the emblematic opaque glass bricks that embellish one side of the boutique and that allow a distinct sunlight to brighten every floor without any visual distractions from the outside. A definite "must" in this iconic building for anyone seeking memorable experiences.

Collection SS2007: Les Chevaux du Ciel

2009-11-29T09:18:00.007-05:00

An absolute superb design has embellished the Shanghai boutique, as a celebration of Hermes' venture into the Far East. The design cleverly adapts the horse theme to a Chinese tradition, creating "les chevaux du Ciel" ("the heavenly horses"). As the scarf is available exclusively in China, it would be by great fortune to see one and assess it appropriately, but it appears that the richness of the background is part of the design, rather than the traditional jacquard pattern. A truly magnificent piece that enchants the eye when displayed both rolled open, and knotted.

Collection SS2007: Ballet Équestre

2009-11-28T20:30:00.010-05:00

A night at the National Ballet of Canada reminded me of this truly spectacular design depicting scenes of equestrian ballet - in which the noble grace with which the horses "dance" is both fascinating and mesmerizing. The graphic composition is reminiscent of a drawing on a cartoon created by one of the Italian artists of the Renaissance (the first technique in executing a large-sized painting or fresco is to create a copy of the design on large sheets of paper, called "cartoons", based on which the artists would later transpose the image on the canvas or mural).

The scarf makes a wonderful knot as well, which would undeniably elicit the admiration of those who take notice and would stir the curiosity and imagination of those who admire it.

One of the earlier "drawings" created by Hubert de Watrigant, attests to his unique artistic vision and creativity and further strengthens his place as one of the best illustrators (and painters) of horses.

Tribute to Great Friendships: Collection FW2009: Dip Dye Brides de Gala

2009-11-21T13:05:00.000-05:00

The design of this scarf is the iconic "Brides de gala" ("Gala Bridles"), first released in 1957 and subsequently re-issued numerous times (1967, 1990, 1992, 1993, 1998, 2000, 2004 to name just a few, created on silk, mousseline, cashmere/silk, cotton and in 2009, carre fluid on silk jersey and pleated silk) before yet another reinterpretation - this time, on a different "canvas".

This post focuses on the latest reissue of this classic and emblematic design, in 2009, on dip dyed-silk. This is a new technique experimented by Hermes (so far, featuring only this design) whereas the scarf is immersed in a dye bath that imprints a colour filter giving it the velvety feel of washed silk (further enhancing the "vintage-style" collection recently launched). The aged, patinated appearance and irregularities in colour are the expression of its charm and unique identity.

It is with this description in mind that I dedicate this scarf to a very dear friend of mine who has witnessed me grow and whose zest for life continues to be a kindling and inspiring force behind my desire to live life at its fullest and touch countless people with my spirit.

Tribute to Great Frendships: Fleurs de Fuchsia

2009-11-21T10:14:00.011-05:00

The newest addition to my review is this absolutely fantastic baby pink "Fleurs de fuchsia" scarf, which gives a very lush and very rich sensation to the discriminating eye.

Although pink does not flatter every complexion, this is a great item for anyone appreciating and able to sport pastel colours. Of interest is the impact of the sparse design on the material, featuring the fabric itself in all its splendor (in my experience, the majority of the designs are so rich that the admirer is tempted to forget the actual "canvas" and focus exclusively on the picture, whereas with designs such as this one, the actual fabric takes center stage as well and adds to the impression of purity and voluptuousness).

Another visual feast, dedicated to a very dear friend of mine who continues to believe in me and to encourage me and support me in all my endeavours. In this regard, this scarf is a celebration of accomplishments and of profound and meaningful human connections - including spiritual connections. She is the kind of friend whom I understand (and "get") and with whom I communicate without the use of words.

Ode to Great Friendships: Collection FW2009: Belles du Mexique

2009-11-14T01:14:00.000-05:00

Last year I introduced the Belles du Mexique scarf, a design that I found beautiful, but also appropriately described as hypnotically captivating. Today I am featuring a reinterpretation of design, this time in a smaller size, because its effects on me are equally enchanting, stirring and inspiring - similar to the influences of great friendships. And since it is thanks to this very design that our paths crossed, I found it only appropriate that I dedicate this post to a new friend whom I had the privilege of meeting - albeit virtually, for now - and whose kind words, generosity and discriminate taste for beauty are both admirable and tremendously inspiring.

Beyond her exquisite beauty and stylish appearance, this friend is, for me, the personification of absolute elegance - a trait that I attribute to her distinguished attitude, that inner (and an utmost intimate) element that defines us and imprints, in everything we do and everyone we meet, the signature of our being.

Picking the scarf in the gavroche size (45cm x 45cm) was not random, but rather triply symbolic: first, while I had already been mesmerized by this design when it was first launched, in 2007, it was her initial purchase of this scarf that triggered my curiosity about it (she posted pictures of herself sporting it in various fun ways which further added to my admiration both for the scarf and for my friend); so in this respect, it is this very design that brought us together. Second, the smaller size is equally symbolic of our young, yet rich and meaningful friendship. Like any relationship, friendships blossom over time - sometimes in unexpected ways - and while the potential is plentiful, they require care as they are cultivated. But make no mistake! They are as fragile as the snowdrops (or "Indian pipes", although these are not as appealing as the former) so understanding, caring, rich nutrients and abundant warm light are of paramount importance to the growth of such friendships. Third, this design, with its twirling dancers, exude vitality, vivaciousness, love for life and optimism - traits that I recognized in my friend and which - I consider - define me as well.

This scarf was issued in 2009, the year when my friend and I crossed paths, so this is yet another reason behind my choice.

The magenta, brown and various hues of orange instill a richness in the design unmatched by any other colour combinations - just as a profound person, like my friend, would instill in our friendship.

Finally, note the signature on the scarf - my friend's pen name and title of her own site, where even a brief visit will convince you of the truth of my words about her. She took this shot, so we can all admire the scarf in all its splendour.

This is a scarf that I cherish not only for its pattern and colours, but also for the rich symbolism I attribute to it. If I were to use a single word to describe - either the scarf, or my friend - that word would be exquisite !

Collection FW2009: Winter Walk

2009-11-10T09:32:00.009-05:00

Hermès has released another design for the Fall/Winter 2009 season from my favourite designer, Leigh P. Cooke, yet the scarves themselves, for the most part, have failed to captivate me. My first reaction was that of excitement at Cooke's creation, particularly in light of the organic theme (leaves and fruit), yet on closer inspection, it depicts a static moment, and the texture of the leaves, craftfully depicted otherwise, suggests mature branches in a state of abandonment, perhaps fallen and spread across the sidewalk due to the changing of seasons. It also carries my thought and imagination to nature past the moment it peaked, after the autumnal rich harvests and blossoms - hence a rather serious, collected stance mood. The creative aspect and ingenuity are definitely noted. The one colour (depicted) that stirrs me is the baby pink one. Perhaps other colours may give away a different impression once they're knotted ? I saw a taupe background variation, so I'm quite eager to check it out when it becomes available.

Collection SS2007: Belles du Mexique II

2009-11-10T09:29:00.005-05:00

Another treasured find, albeit not in my collection, is this very joyful scarf in summery colours. So youthful, so playful, and so dynamic ! Lots of fun !

Collection FW2009: Kelly en Calèche

2009-11-07T00:12:00.000-05:00

This scarf is a tribute to the revered Kelly bag - so named after the former American actress Grace Kelly who used one such bag to shield her pregnancy - with the future Princess Caroline - from the prying eyes of the paparazzi; although launched in the 1930's, it was this 1956 event, photographed and wildly publicized, that brought this timeless handbag into the light and granted the design its iconic status (Stephanie Henderson, in her book entitled "Handbags, What Every Woman Should Know" indicated that the newly married and shy Princess, when faced with a pack of noisy photographers and not yet willing to announce her pregnancy to the world, did what every woman would do - hide her secret in her handbag !).

The design cleverly depicts three of the iconic elements that the Maison has been associated with throughout the years - all part of its creations: the carriage (or calash), reminiscent of the Maison's fonding years and having become emblematic of its roots and part of the Maison's logo, the Kelly handbag and the locks meant to seal one's objects inside the handbag. Issued in 2007 to celebrate the 70th anniversary of the Hermes carre, this design was released - symbolically - on a 70x70cm scarf. Its unimaginable popularity and success has been reflected in consequent reissues, as a twilly, cashmere and silk (depicted above) and, most recently (2010), in cotton.

This pattern is superb, many admirers choosing to frame the scarf so as to admire its splendour with every passing by (see below).

If you feel compelled to wear a piece of art, the scarf ties absolutely magnificently - pure magic !

Collection FW2009: Hermès en Voyage

2009-10-31T02:51:00.000-04:00

Today's post features a creation released as part of the Fall/Winter 2009 collection entitled "Hermes en Voyage". The scarf design was inspired by the style of Dang Ye, a Chinese painting artist whose creations, exposed at the 2006 Shanghai Art Expo, captured Pierre-Alexis Dumas' attention and interest (Hermes' co-artistic director). He recognized not only that his designs would make great scarf designs, but also that they encapsulate the "rhythms of China", particularly in this design.

The design depicts a flag-like pattern that gives a sense of motion despite the apparent geometry, thanks to the unevenness and remote randomness of the rows. The vibrant colours - crimson, fuchsia, lilac, purple - instill a fluidity into the pattern and the scarf, inviting the admirer to fondle it. The scarf also ties beautifully.

My appreciation for this scarf stems from my own experiences with the paintings of the late Romanian artist Gheorghe Pantelie. He was instilling dynamism into his creations by using a similar technique of drawing geometric patterns "in motion".

Collection FW2009: Vintage silk twill scarf for men

2009-10-24T08:40:00.000-04:00

Hermes' first self-described "scarf for men", this "carre" (the French for "scarf", literally meaning "square") features horses - a theme so close to Hermès, as it retraces its origins - in motion. The designs depicts horse shapes in unconventional colours and patterns, suggesting different fabrics - which adds texture and diversity to the design and conveniently makes it more versatile to match one's outfits as one would have a greater palette of colours to wear.

The size is 70cm x 70cm (the so-called "vintage-style" collection) and all scarves sport subdued colours. I'd be interested to see one and evaluate how the pattern displays when knotted. Particularly interesting I found the House's "pricing strategy", this scarf being "valued" at $275 rather than $295 for the ladies-inspired vintage-style carres.

Collection FW2006: Fuchsia Flowers, Part II

2009-10-20T09:54:00.009-04:00

I came along this scarf, along with the previous one, by mere coincidence, while browsing a catalogue in a boutique. My fortunate find ! The background colour, described as "deep petrol blue", is equally rich and intense, although much less subdued than the previous, brick red one. The fuchsia flowers appear equally delicate, too, and seem ready for someone to pick them up. Lovely ! The author is Leigh P. Cooke and the title is "Fleurs de fuchsia". Enchanting !