City Travel Series: Collection FW2008: De Passage à Moscou

With the West's rediscovery of Russia (and the latter's rising prominance), Hermes has dedicated a scarf to the architectural treasures of the Western's "East", with a particular focus on Moscow. This design has been launched during the Fall/Winter 2008 collection and represents yet another departure from the previous concepts. It depicts, in picture-clear images, a horse-drawn sleigh wisking its passangers through the snow-covered Moscow streets. The novelty of this design is rendered by the winter theme, the snow flakes all along the border and the travellers' clear path that allows the audience to imagine what enchanting views the trip may uncover - indeed, a dreamers' paradise. The churches' golden domes - perhaps a symbol of glorious divinity - add both substance and impact in an otherwise serene scene.

City Travel Series. Collection SS2007: De Passage à Tokyo

Dreamers of far-away lands were treated to another surprise in 2007, a visit through Tokyo.

I am particularly excited about this design as I have had the privilege of not only experiencing first-hand the city, but also immersing myself in it and living every moment in Tokyo fully. The previous stamp-like design has been abandoned in favour of a postcard-like illustration of the enchanting buildings, slim skyscrapers that spruce vigorously towards the sky and make for an urban "labyrinth" - artfully depicted in the design. In the upper right corner the visitor can identify the Hermes boutique in Ginza, with its horse rider (affectionately called "l'artificier") atop flying two of the Maison's flags (typically designs of the current scarf collection). Of particular interest is the way the design allows for a spectacular knot, with the vertical banner prominently displaying right on top of the knot. The design, overall, is very stirring and engaging, and when knotted, the scarf displays very architecturally - a definite contemporary design for daring beauty-lovers.

P.S. I recently saw a very similar design, called "de passage à Ginza", which I suspect is a limited-edition scarf designed exclusively for the Ginza boutique.

City Travel Series: De Passage à New York

Following the success of the "visit to Paris" design the year before, and as a way to commemorate the opening of the Wall Street boutique in 2007, Hermès launched "De Passage à New York". The postal stamp shape is featured again, while the image illustrates a partial map of Manhattan with the various boroughs spelled out on the side. What's novel about this design is the way the image was conceived, to give the sensation of perpetual motion, with an apparent second image superimposed on the first. Unlike the previous, "Paris" design, this one features "hand-drawn" lines, further adding to the appearance of motion. As was the case with several other scarf designs, I find this one a little too "geometric" when knotted, so it may not be too appealing to those who prefer either more traditional, organic or subdued impact from their scarves.

City Travel Series: De Passage à Paris

August - the calendar month named after Julius Caesar's adopted son Augustus, emperor of the first Roman Empire and intended to mark Cleopatra's birth month - is a time when I become aware that summer is coming to an end.  In anticipation of the colder seasons, I contemplate, one more time, a quick getaway to the shores of the sea.  The vacation mood inspired me to focus my attention to the travel series issued by Hermes, which I'm all too eager to present.  

In 2006, Hermès commissioned a scarf design to evoke the traveling theme, and Nathalie Vialars - a designer -embarked on a multi-year journey through great metropoleis of the world. So the first featured "destination" was none other than Paris, the City of Lights. The witty design replicates a (perhaps collectible) stamp - a universal symbol of traveling - that illustrates part of the map of the "Quartier des Tuileries" (the Tuileries District) and extends several blocks North, just beyond La Madeleine.

Of interest is to identify the historic reference points of the City, such as "la Place de la Concorde" ("Friendship Square"), "Les Jardins des Tuileries" to the right (the "Tuileries Gardens" in front of the Louvre), the "Place Vendôme" North of the gardens and finally "La Madeleine", a Greek temple in the heart of the city and the only Christian church not to feature a cross. Of course, as the gaze covers the rest of the "map", you cannot avoid a highlighted corner of a building, which most connaisseurs would instantly recognize as the site of the world-famous Maison Hermès, on 24, rue du Foubourg St.-Honoré. The design also features the rider (affectionately called "l'artificier") atop the Hermès boutique as an added stamp, and is further enhanced by an authentic-look-alike "ink-stamped" mark. Of particular note is the very accurate depiction of buildings, unlike - as we'll soon discover - the following design issues. A very ingenious design, indeed, and a definite asset for all tourists who appreciate those items that are both aesthetically-pleasing and quite practical.

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 FW1997: Inros et Kimonos

I am writing this post as a tribute to a very dear friend of mine with whom I share a profound appreciation for fabrics, in general, and silk in particular, and who has become an integral part of my life. "Inrō" is a traditional Japanese case for holding small objects (traditional Japanese garments lacked pockets); they are comprised of several boxes stacked on top of each other with the help of a cord, which also serves to secure the "inrō" to the "obi" (or sash). Most types of these "sagemono" were created for specialized contents, such as tobacco, pipes, writing brush and ink, but "inrō" were suited for carrying anything small, often times identity seals and medicines.


"Kimono" is a Japanese traditional garment (the word literally means a "thing to wear", from "ki" - "to wear" - and "mono" - "thing"). Both "inrō" and "kimono" evolved over time from strictly utilitarian articles into objects of high art and immense craftsmanship.


Hermes is paying tribute, as from a master artisan to the creations of other artisans, to the artform that "inrō" and "kimono" entails and represents. This scarf is set to appeal to all admirers of Japanese art, manifested in its many forms.


The colours of this particular scarf are a little subdued, but I chose it not only because the green is yet another colour that my friend and I like and have embraced, but also because the hue allows the depicted Japanese objects to display in all of their glory. Whenever I see this design, I will think of her, and if one day I'll have the fortune of owning one, she'll be with me not only emotionally, but also in a very tangible way.


This design was created by Annie Faivre, in the service of Hermes for over 30 years (her nickname, given to her by family and close friends, is "little monkey", so over the years, she has been incorporating a little monkey in most designs - this one is the only one, to my knowledge, not to contain the monkey illustration). Living in Paris, she is now a grandmother and continues to create designs for the Maison, some of them quite impactful.

Collection FW2005: Rives Fertiles

I wrote, last week, about this design,  yet this is an exceptional colour combination that deserves a separate mention. "Rives fertiles" ("fertile rivers") pays tribute to the River Nile and the countless lives it enriches as it carves its way to the Mediterranean (proof of the Egyptian reference is the pyramid in the lower right hand corner of the design.

The designer, Christine Henry, has already made her mark with many other intricate and very detailed patterns, but this one remains one of my all-time-favourite. 


Note that the style is similar to the post of two weeks ago - the same attention to detail, the same delicate drawings as in "people du vent" - yet while the former has a distinct East European folkloric motif, this one elevates beyond cultures to become a timeless masterpiece.  


It ties beautifully and the colours are simply sublime (the marine border reminds me of the deep colours of the Black Sea waters while the hues of burgundy, dark orange and pink are warm and soothing).

Collection FW2005: Rives Fertiles

The kind of scarf that not only tells a story, but is worthy of a magnificent frame and a prominent display.

Continuing the stream within the Hermes collection, "Rives Fertiles" ("Fertile Rivers") follows the course of a water stream - or perhaps of several, revealing the impact water has on the people who have access to it.  It reminds me of the river Nile, and the history lessons I used to enjoy so much in high school, when we learnt about the two harvests triggered by the unusually fertile Egyptian land "bathed" by the river Nile. This particular colour combination is quite an accomplished and enchanting visual symphony, with an air of elegance and sophistication that few scarves manage to attain.

Collection SS2005: Le fleuve sacré

I'm taking a trip back in time to feature some of the more impactful scarves of 2005 - when Hermes paid tribute to the source of all life (water) by dedicating its entire collection to celebrating it.


This scarf is a rendition of a scene of Indian life as it unfolds along the shores of the sacred river Ganges.


My appreciation for this scarf stems from the acknowledgement of the tremendous impact to a civilization that water - or access to it - has had throughout the human history. The human existence has been determined - and influenced - by a stream of water, and this principle holds true today as it did centuries ago (the global warming effect, felt throughout the world, has many nations worried that it would result in less access to potable water; Canada, fortunately, is part of a select few countries that enjoy tremendous reserves of freshwater).

The Ganges river, some 2,500 km long, rises in the Western Himalayas (in the Indian state of Uttarakhand) and flows East, draining into the Sunderabans Delta in the Bay of Bengal. Jawaharlal Nehru, a leading figure in the Indian independence movement and the first - and to date longest-serving - prime-minister of India, described the significance of the River Ganges in his "Discovery of India" as follows: "The Ganges, above all, is the river of India, which has held India's heart captive and drawn uncounted millions to her banks since the dawn of history. The story of the Ganges, from her sources to the sea, from old times to new, is the story of India's civilization and culture, of the rise and fall of empires, of great and proud cities, of the adventures of man...".

"Le fleuve sacré" ("the sacred river" - The Hindus consider Ganges a holy river and worship it as the Hindi Goddess Ganga) - is an ode to the enriching effect of the river Ganges on countless lives (the river supports one of the world's highest density of humans). Designed by Catherine Baschet and issued in 2005 as part of the "Rivers" theme, the scarf beautifully depicts the four pillars of human existence - the people's livelihood (as represented by the dwellings, by the folks bathing in the river as well as by the vegetation and animals), the economic activity (the trade is suggested by the ship and the sailing boats) and the social aspect (the interactions on the river's shores) are powerful symbols of how life can flourish on the shores of a rich river. The overall scene, perceived through an apparent window in the style of, and richly ornate with, Indian motifs, defines the folks' cultural accomplishments.
This scarf, appropriately named "le fleuve sacré

Many of the colours combinations are either bright or too subdued, yet I find the ones featured in this post among the - if not "the" - most impactful and beautiful.

Collection SS2009: Voyage en Etoffes

A scarf that equally celebrates "etoffes" ("fabrics"), this one depicts garments whose display is suggestive of bazaar merchants eager to show off all of their goods by "dressing" them on posts. "Voyage en etoffes" ("voyage in fabrics") is an ode to the world's many cultures and the material expressions of those cultures through garments. From Europe to Asia and across to North America, every society has defined a standard for high-quality fabrics - cotton, linen, silk, cashmere, to name a select few. And equally defining is the variety of patterns - uncannily common to some nations - that create a profound harmony.

Universal, garment art is an intimate expression for both men and women who aspire to look handsome. It is richly symbolic - the choice of the fabrics and the patterns speak for themselves, brandishing social status, a religious message or a ritual signature. Forever timeless yet classically fashionable.

The colour combination of this particular scarf is impactful and very vivacious, and the design carries me to the image of my dear friend for whom the potential of fabrics to transform into adorning creations is indeed limitless.

Collection SS2009: Peuple du vent

"Peuple du vent" ("people of the wind") is another name by which the gypsies are known. This scarf pays tribute to these eternal travelers, whose legends glorify nature while recounting their magical virtues (of communicating with animals and of palm reading, to name a select few). This carre is an ode not only to their myths and beliefs, but also to their distinguished artistry and craftsmanship

As a true testament to their nature, the names by which the "people of the wind" are known describe their history, peregrinations, occupations or territorial origins - or all of the above, together. "Gypsy" comes from the Greek for "Egyptian" in an erroneous belief that these people originated in Egypt and were exiled as punishment for allegedly harboring the infant Jesus. "Tziganes" comes from another Greek word, meaning "untouchables". "Bohemians", related to their obtaining passports issued by the Bohemian king, is yet another word, as is "Lautari" (from the Romanian "lauta" meaning "mandolin", denoting their admirable musical skills), "Kokkalaris" (from the Greek "kokkala" for "bones"), "Kalderash" (from the Romanian "caldare" denoting their blacksmith craft), "Ursari" (as "showers of circus bears") or "Rotars" (from "wheels"). No matter what their names, these people are universally recognized for their distinct caravans, select craftsmanship and sought-after instrument playing artistry.

The design sports an intricate organic pattern, similar to the patterns of the Gypsy women's clothes, and has as a predominant motif the wheel, symbolic of these folks' peregrinations and fortune-telling. The scarf also depicts individuals as craftsmen and artists: male violin and accordion players, female dancers, horseback riders or circus performers are but a few of the individual elements. Equally fascinating is the representation of the legend of Sara, the Black Virgin of the "Roma" (the official name of these people since 1971). The colours in the series are all very bright, intense, unapologetic - similar to the vibrant colours of the folks' clothes. One of my favourite is the bright green, which I'll post as soon as I find a good picture of.

This scarf is a delight to wear as it ties beautifully and a great object of admiration for its own intrinsic story-telling design (albeit only for those who can wear "statement" accessories, as the pattern is quite strong and rich). The musical equivalent of this scarf would be Gheorghe Zamfir's "The Lonely Sheppard", which has invariable triggers misty eyes for me.

Collection SS2009: Les folies du ciel

This is a scarf that caught my attention first because of its interesting colour combination - bright orange hues on a white background - suggestive of the "blank canvas" concepts beloved by all entrepreneurs and inventors. Indeed, this scarf is a tribute to all pioneers who not only dreamt of flying machines, but also proceeded to realize their dreams, despite the odds of success. The tone of this scarf is not only of being mesmerized by the limitless power of the human imagination, but also of nostalgia, for those times immemorial of modest beginnings when the concept of aviation was in its infancy - a novelty reserved for a select few who could enchant the on-lookers and spur the imagination of countless others. The spirit of this design dissipates when the scarf is knotted, yet this is another one of those memorable designs that deserve a prominent display in a study or an intimate room where the thoughts are allowed to wonder.

This is a reissue of a "classic", although realized in more contemporary tones (the previous designs featured a contrasting fading border, which now makes it look a little antiquated).

Collection SS2009: Pierre Loti ou l'âme voyageuse

This scarf has been issued as part of the "grand voyages" theme, as a tribute to the French novelist and naval officer Julien Viaud, who rose to fame under his literary pseudonym Pierre Loti (one story tells of his remarkable shyness, which made his companions compare him to the Lotus flower - "le loti" - from where his nickname was derived). Pierre Loti has become synonymous with great adventures and the liberal spirit of pioneers.

"Pierre Loti ou l'âme voyageuse" ("Pierre Loti or the traveller's spirit") is conceived as a collage of images depicting various scenes from the hero's life around the world - reminiscent of flashback memories - this design reunites the many lives and facets of the Frenchman: the young army recruit, the proud French Camel Corps soldier, the naval officer, the Turkish dandy and the eccentric Orientalist, to name a select few. Thanks to this innovative approach, this carre becomes a genuine exotic travel diary, recounting stories and giving wings to the readers.

What captivated me about this scarf was not only the novel design of collage, but also the traveling and adventure themes, intrinsic in the pattern. I, too, grow wings with every thought of a voyage and while my forays into the unknown have not been as diverse or as rich as Pierre Loti's, I pride myself for having experienced countless cultures in some 18 countries on four continents and in this respect, I very much identified with this adventurers. Another very powerful aspect that resonated with me was the many lives and facets that make up an individual. I, too, consider myself complex, and when I introduce myself, I find it difficult to focus in on a single aspect of me. The clues almost exclusively come from my knowledge of my interlocutors, and their interests or preferences (my challenge has always been to encapsulate my spirit into a brief descriptions about me, because once I identify one aspect, I feel I automatically discard so many others). That is not to say that this scarf is a representation of me - I find it somewhat dissonant, in that it lacks a certain harmony (perhaps this was also representative of Pierre Loti, but unlike this, I aspire to harmony, so this adventurer cannot then become someone I aspire to be like).

Given its strong (and strident) colours and contrasting images, and the vibe given by the collage approach, this scarf is suited for those who wouldn't shy from sporting strong contrasts, contrasting colours and patterns.

Collection SS2009: H en Voyage

A very witty design that captivated my attention, the "H en voyage" depicts two stacks of suitcases linked between by other and forming the very distinguished "H". What I particularly love about this design is the depth of the picture - the impression of perspective - rendered by the lines that converge in the middle (the design features the square tile motif, also known as the "checkerboard floor" - one of the oldest and favourite methods of depicting and illustrating the vanishing point - which turn into little "H's" as they get farther away; by the same token, these lines reminisce of train tracks, a fitting allusion given the suitcases).

The other interesting aspect, not immediately apparent in this particular colour combination, is that the outer border is not the same hue of mustard yellow - instead, two sides are lighter while the other two are darker. This difference in colours complements well the design when the scarf is knotted, balancing the otherwise potentially monotonous pattern of parallel lines. This design was issued as "vintage-style" scarf (70cm x 70cm).


Befitting the "vintage" label, the design is deemed solar - from a focal point in the very centre of the scarf, the images reach out towards the edges, like solar rays.  This design technique was very common since the beginning of Hermes' venture into scarves, and had been followed until 1960s, when new design techniques had been explored and adopted.


I'm not very fond of the grid-like background, which renders the pattern of the knotted scarf too geometric, but it's a very interesting and refreshing design, which I admire very fondly each time I look at it.

Collection SS2009: De Madras à Zakynthos

Continuing the review of this season's collection is an interesting depiction of a turtle in its gracious "flight" underneath the ocean waves, in a sub-aquatic world that's deceptively peaceful.  


This scarf not only encompasses the exotic destinations of far-away lands, but also beautifully reminds us of the cycle of nature and the many sacrifices mothers make to give birth and care for their young.  "De Madras à Zakynthos" ("from Madras to Zakynthos") retraces the unbelievable journey that the nearly extinct Caretta Caretta sea turtles undertake from the Maldives islands, where they live, to their native lands, in the Greek islands, to lay their eggs. Simple in its composition, the design illustrates a single turtle, in an apparent swimming state, "crossing" the scarf from one corner to the opposing one. I find this design very busy and I would recommend it only to those of us who can sport animal prints - such as leopard - symbolic of their courageous and untamed spirit.

Collection SS2009: Faubourg Express

A very intriguing pattern is this "Faubourg Express", a deceptively simple scarf that features tastefully bright colours and emphasizes the beauty of pure, white silk. Depicted is a series of thin lines of various colours, drawn parallel to each other, and suggesting the sequence of images as perceived from within a train in motion. This picture does not reflect the shapes of things, yet when the scarf is perfectly flat, the images become apparent. In addition, I consider this knot very elegant and refined, for those adept of making an impactful statement with discrete elements. The artist is Dimitri Rybaltchenko, a very talented designer whose works of art are expressions of supreme artistic creativity.

Collection SS2009: Please Check In

This is a lovely scarf of the 70-vintage collection ("70" refers to the width of the carre, in cm) that appealed to me instantly.

I thought of it because a close friend, whom I've known since my years in university, was en route to New York City from Paris today (December 26th) via Toronto when, thanks to the incident onboard a Northwest plane, Air Canada canceled the majority of its flighs bound for the US and so he found himself stranded in Toronto for what would amount to two days. While the prolonged stop-over was unplanned, we made the most out of it, visiting both Toronto and Niagara Falls, and offering him a truly unforgettable experience (the "bonus" of his voyage).

This scarf design, alluding to the an x-ray image scan of a suitcase when inspected by the airport security, illustrates the emblematic objects that Hermes has created over time, such as a Kelly bag (named after Grace Kelly, who used one such back to cover her pregnancy from paparazzi, lending the bag more than just a few extra flash shots; the bag became iconic for Hermes, as did its famous name-sake), a twilly (the elongated silk scarf wrapped, in this image, around the bag handle), the anchor chain scarf ring and the horse-shaped lock, so popular with Hermes aficionados, to name just a few.

I find the rendition of such impression, based on the use of colour alone, quite fascinating, for which reason I really really like this scarf. Knotted, it looks equally interesting, lending a very impactful appearance to the wearer. The one aspect that I found disappointing was the limited colour variations of this design. Perhaps Hermes is preparing a second issue, when more colours will be offered.

Collection SS2009: Hermès Sellier

The impact of this design comes from the symmetry of its pattern - symbolic of the French gardens, to which this scarf pays tribute. French gardens ("jardins a la francaise") are based, as their defining characteristic, on symmetry and the principle of imposing order over nature. Designed to evoque harmony and order - the ideals of the Rennaissance - and to recall the virtues of the Antiquity - the standard of

professional accomplishment and source of profound inspiration, the French gardens have reached their apogy in the 17th century under France's Louis XIV, the Sun King, with the construction of the Gardens of Versailles by the royal lanscape architect, Andre le Notre.


The actual inspiration for this design came, according to Hermes, from the secret miniature gardens atop the Hermes boutique on rue du Faubourg St.-Honore, accessible to a fortunate few.


"Sellier" means "saddle maker" and, referencing the House's beginnings, has become an integral part of the official name (and legal name: "Hermes Sellier SA", illustrated on the scarf in the 1930s font). Created by Benoit Pierre-Emery and issued as part of the Spring/Summer 2009 collection, this scarf ties interestingly, particularly for the anthracite grey with contrasting

orange hem.

Collection FW2006: Les Toits de Paris

This scarf is an absolute delight to study and discover because it depicts something as uniquely identifiable and as intimate to every city as any recognizable tourist attraction: the skyline, or more appropriately the rooftops. Hermès skillfully depicted "les toits de Paris" ("the rooftops of Paris") with grace, wit and innocent playfulness: the apparent monotony of the rooftops is interrupted by domestic scenes, household lights and even the ubiquitous "friends" that have found comfort in the human beings' existence - birds, cats and even mice. I was somewhat disappointed with the way the scarf displays when knotted, because the playfulness (and the spirit) are lost, but it's nevertheless a scarf I'm very fond of.

The Hermes add, featuring this very scarf, is a beautiful picture of a girl, her hair wrapped inside the scarf, leaning on the window to le her face be carressed by the fairytale snow flakes, and looking out across what we can only anticipate to be the Parisian skyline.

Collection FW2008: Aux Portes du Palais

"Aux portes du palais" ("At the palace gates") is the fruit of the designer's deep understanding of Indian culture, art and mythology.  Each detail, character, animal, plant and architectural element is deliberate and richly symbolic.  The large doors signify the threshold between the known and the unknown - two worlds richly depicted in many cultures around the world.  Fruit-laden trees bursting with flowers represent Buddha in Indian folk art and symbolize fertility. The lotus flowers - Buddha's flowers - represent spiritual blossoming.

Equally illustrated are emblematic animals, revered and present in all Indian art: the elephant (ridden by Indra, the god of storms and rain) brings peace and prosperity; the horse is the symbol of wisdom and formal beauty; the cow - a nourishing mother figure - is the very image of non-violence and the tiger represents the energy of nature...

The four dancers next to the trees narrate the legends of the gods and stories from everyday life using graceful gestures.

The corners of the scarf depict examples of the protective drawings that women paint on their homes. The frieze surrounding the scarf, in the style of Indian miniatures, rich in colourful decorations, is a tribute to the delicacy of Indian art, expressed in fabrics and temple decorations alike.

I consider this scarf another fine example of a silk painting, worthy of being framed so as to adorn someone's living room, study or even bedroom. The rich symbolism is thus preserved and the scarf continues to tell a great story, much more than when it's worn.

Collection FW2008: Beloved India

Like an enormous illustration, "Beloved India" pays tribute to the artisans who paint the earthen walls of Indian homes, a painting style characteristic of Indian folk art that is figurative, ornamental and very expressive: giant cartoons, picture-book illustrations and child-like frescoes.....

Still today, the tradition of painting elephants with decorative patterns for important celebrations lives on; the animals are adorned in rugs, embroidered ornaments, pompoms and fringes, right up to their richly decorated tusks and right down to their feet, which bear bracelets with small bells.

The tradition of painting everyday scenes on walls is still practiced. The designer's simple yet vivid style perfectly captures India's inviting warmth and vivacious character.

Collection FW2008: Les Clés

From the golden key offered to the Governor of the Netherlands by the Members of the Council of State on behalf of King Charles III (in the left corner) to the key to the Notre-Dame Cathedral in Paris (fourth from the lower right corner), the forty-seven keys on this scarf are accurate representations of actual keys. A leather pouch, embroidered with keys from the Musee Hermes, is shown in the middle, while silk cords and pompoms reflect the keys' curls and arabesques.

Along the edges of the scarf are illustrations of four-faced "bishop's hat" harness rivets. Each corner depicts a different style of openwork bronze escutcheons. The diversity and complexity of the bits (the wrought part that turns in the lock) makes one wonder which room, piece of furniture or drawer they open, what secrets they were meant to protect with such elegance, refinement and preciosity. They are equally symbolic of the complicated mechanics of the locks.

This scarf is a hymn to the craftsmen who chiseled these wonders, as well as to the locksmiths' mathematical genius. This scarf evokes the age when people hung all their house keys on a chain (or perhaps silk cord) carrying them attached to their belts (I, for one, received the house key, around my neck to ensure a lower chance of losing it, when I started school, in grade one - and I recall vividly how proud I was of the responsibility that I had received, which for me was symbolic of the trust my parents had placed in me).

This design was launched in 1965 (hence the "traditional" look of the design) and reissued many times since, the most recent of which was in 2009/2010 in cashmere and silk and in 2010 as a variation on this theme. The design endured through the years thanks to Hermes' clever use of colours to instill a contemporary "feel", such as is depicted in the images above and below.

Collection FW2008: Dancing Pearls

Virginie Jamin, who has created a name for herself with such wildly popular designs as "Belles du Mexique", dreamt up a story of a woman who leaves India on a boat without suitcases or memories. All she carries with her is a light, sparkling necklace of Indian pearls. Swayed by the tumultuous waves, she starts spinning in circles in a sort of hypnotic dance. Her necklace twirls in time and appears to be actively participating in this unique choreography.


The movement of the pearls draws her into an intoxicating whirlwind. The necklace that offered her the most beautiful dance of her life comes undone at one end, sending the pearls rolling, spreading loose, being engulfed by the sea. All that remains of this magical moment is a single pearl, which she wears every day, because it brings her a peaceful sense of happiness.


The design instills a surprising sensation of movement. The pattern is pretty busy; yet, I consider that the scarf should be worn so as to display in a bigger proportion than others the pattern, to communicate its message clearly. A headscarf would be a wonderful fantasist manner.

Collection FW2008: Coupons Indiens

This scarf, designed by Aline Honore and issued in 2009 as part of Hermes' Indian theme, pays tribute to the infinite creativity in textiles - in terms of fabrics, patterns and colours. One of the many riches of India, fabrics - whether cotton or silk - come in a variety of styles: simple, ornate, printed, woven, embroidered and sequined and in countless imaginative patterns: floral, folk, geometric, abstract ..... "Coupons indiens", carrying us to a fabric strand at an Indian marketplace, lends the fabrics a tactile feel suggesting fluidity and suppleness.

Coupons indiens is a hymn to the colour, with its numerous tints - all produced from natural pigments. Colour is everywhere in India, vibrating with strength, brightness and a rich palette. It illuminates women's diaphanous, elegantly draped saris. It crowns men with dazzling turbans. Its symbolism adds a certain rhythm to life: red for joy, yellow for its promise of happiness, the sheer serenity of pure white.

With so many designs and colours, which one would you choose?

This scarf ties wonderfully, as the richness of the design instills a natural sophistication to the person who wears it. Perhaps even more impactful is the larger size variation of this scarf, in cashmere and silk, which allows the wearer to wrap it around the neck while the edges display, in all their splendour, the richness of the pattern. A true visual celebration, the scarf's vibrating character transcends the fabric to define the wearer beautifully !

Collection SS2007: Vif Argent

An interesting design by Dimitri Rybaltchenko, "Vif Argent" ("Quicksilver") depicts drops of mercury that form, by way of continuous lines, the famous Hermes brand. It is a stirring design, beautiful in its simplicity, but one that does not have a particular impact when knotted traditionally around the neck - unless a good part of the middle design is displayed, as in a headscarf fashion, or perhaps in a knot where a good quarter of the scarf is displayed in front.

Collection FW2008: Tohu Bohu

In French, "Tohu Bohu" means tumult, commotion, so "Hurly Burly" would be an appropriate translation. This scarf, first released in 2004 and reissued in 2008 and again in 2010 on cashmere/silk, features concentric circles, each of a different colour, starting in the middle of the scarf and increasing in size until the largest circle becomes inscribed within the scarf. Within the widths of select circles are inscribed, one per circle, the letters that make up "Hermes". Each of the corners depicts one element of the address of the Maison's Faubourg St.-Honore flagship boutique - "24", "Fbg", "Paris" and "France", each word having its letters in disorder (the other definition of "tohu bohu"). Finally, the very edge of the scarf features the many colours that have been already included in the design, in a sequence, similar to that of the Human DNA, that's harmoniously playful and adds the extra element of surprise and "fun" when the scarf is worn.

The design was created by Claudia Stuhlhofer Mayr, a very successful designer - and the only Austrian designer in the art team of Hermes for twelve years.

This pattern was an instant success with fans of Hermes, including the most renowned Italian singer of all times, the late Luciano Pavarotti (seen here wearing the orange GM version - "grand modele", or "large size-XL" - in cashmere/silk blend).

In response to such popularity, Hermes has further satisfied the public's thirst by adapting this design for jewelry and household items such as porcelain, themselves very popular items and sought-after collectibles.