Collection SS2010: Chevaux Qataris

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 !

Le Carnaval de Venice

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 SS2010: Les Poneys de Polo

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 SS2002: Musée Vivant du Cheval

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.

Fêtes Vénitiennes

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 SS2007: Ballet Équestre

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.

Ode to Great Friendships: Fêtes Vénitiennes

We meet people from all walks of life. Some people walk into our lives and stay there for good, a few will touch our lives in profound and meaningful ways, yet others walk out of our lives never to return. It's really up to us to receive the gift that they bring us, to seize the opportunity to grow thanks to them, and to cherish the beings that we become as a result of their impact. And so it is that today I'm embarking on a series of posts dedicated to people whom I had the privilege to meet and who have had a profound influence on me - those who, no matter where they are, are always part of who I am and who I've become.

Today's post features this truly magnificent scarf, entitled "Fetes Venitiennes" ("Venetian Feasts"). Its regal appearance is obvious not only from the rich colours (suggestive of chocolate, or even of a lush treasure), but also from the material itself - the famous "Jacquard" silk - named after the inventor of the weaving loom (also named after him) that allows the creation of distinct patterns within the fabric during the weaving process. The process adds significant costs to the manufacturing, and Hermes has realized this technique became prohibitively expensive even for the discriminating customers, so it stopped production and with this decision, all scarves printed on Jacquard silk became even greater rarities. The topic, in itself - the Carnival of Venice - is brought to life by Hubert de Watrigant, a renowned artist who created many other designs for the House. It evokes people's celebration of this annual traditional event, some dressed up in costumes, as well as the admirers' appreciation for the Venetian masks (another symbol of the carnival).


And I'm thrilled at the opportunity to link this scarf to one of my dearest friends who has enriched my life beyond her wildest imagination and who continues to be a source of great inspiration and drive for me, and an exceptional role model. So through this scarf, her presence will always be with me - to guide me and to provide comfort to me. Because just like this scarf, our friendship is rich, profound and very meaningful - and, above all, she's as regal distinguished and rare as the Venetian Feasts !

Collection SS2006: Plaza de Toros

An earlier design that's as simple as it is stirring. The bullfighting, one of Hubert de Watrigant's favourite themes, brings dynamism and a certain adrenaline rush to the scarf (and particularly to both admirers and those who sport it). The raw and primal fighting for survival, coupled with the stage "dance" and bullfighters' harmonious movements make the "Plaza de Toros" a sensual enough scarf to be sported by ladies and masculine enough for men. Of all the scarves illustrated here (including those in my collection), I would definitely consider wearing this one !

Collection FW2004: Fêtes Vénitiennes

At the same time that I fell in love with the first scarf, I identified another one that caught my eye, less for the overall design and more for the colour combination and the Venetian masks.

Originally released under the "Carnaval de Venice" ("Venice Carnival"), "Fetes Venitiennes" ("Venetian Feasts") is a reissue on a distinct fabric - the jacquard silk, renowned for the technique of weaving a pattern within the fabric that renders the material distinctly unique and considerably more valuable.

The design features participants to the Venetian carnival, dressed in period costumes. Of particular interest are the background colours of the expanded center around the middle: each group of characters is depicted against a background colour that is repeated in the next group, immediately to the left, underneath the characters (forming a triangle against which the masks are placed).

The scarf is absolutely stunning, a splendid display of artistic acumen, attention to detail and harmonious combination of colours and shapes. The autumnal colours are yet another aspect that renders this scarf superb.

I noticed this scarf in 2005, yet only more recently did I become aware of the designer - Hubert de Watrigant - a talented and accomplished artist in his own right, whose paintings continue to inspire audiences the world over. His specialization is in horses, bulls and hounds, and many museums (including the "Living Horse Museum" in Chantilly, France) feature his creations. It is him behind the "Plaza de toros" design, as well as the "Ballet equestre" and "Feria de Seville" (more on these later).