FW2014: Cavalcadour Fleuri

Surprise !

One of the most stunning designs I have seen in a while - definitely making the ultra-rare "unforgettables" list - is this cashmere/silk shawl.  A fresh take on the classic Cavalcadour (one of the most popular designs the House has produced over time), this pattern is surely imprinted in our minds - and our hearts -, giving the person sporting it the assurance of wearing a stunning piece of art and feeling like the proverbial $1MM.

I chose to feature this design during the week of Christmas for looking at it - thanks to its fresh colours and sharp contrast, and to its amazing pattern - is like opening up a wonderfully wrapped gift, only to be mesmerized and enchanted by its content.

Have a safe Holiday season, enjoying every moment of it !

Collection SS2014: Mors et Gourmettes Remix

A very popular classic has been reissued in a contemporary motif - somehow reminding me of the Liberty textiles.  The colors are soft and wonderful (both in the 90cm and 140 cashmere and silk).

A sophisticated look for a lucky lady.

Collection SS2011: Grand Manège

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 FW2007: Projets Carrés

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.