Collection SS2005: Onde de Chic

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

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

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 !

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 !

Collection FW2009: La Femme aux Semelles de Vent

The design of this scarf didn't really capture my interest until I discovered, thanks to a friend, the story behind it: it depicts a scene from Alexandra David-Neel's travel to Lhasa, the Tibetan capital "hidden" on a plateau up in the Himalayas and forbidden to foreigners.  The story goes that while living in Japan, our hero (a Belgian-French explorer, spiritualist and Buddhist) she met someone who, disguised as a Chinese doctor, had visited the Tibetans in their capital city in 1901.  Emboldened by both curiosity and her spirit of adventure, Alexandra put her courage to the test in 1924 by endeavouring to reach Lhasa herself disguised as a pilgrim - a feat embraced by the world media immediately, which sealed her reputation as a true pioneer.  "La femme aux semelles de vent" ("the woman with wind as her soles") pays tribute to the legendary heroes who brought the world closer to us - who, in fact, helped us open up to the world.

The reason why I stated that this scarf failed to captivate my attention is because of the very busy patterns employed around the edges, edges that prove rather "thick" relative to the focal scene.  Encassing the scene with a heavy border - the same pattern along the edges - gives the impression that we look at the travelers - Alexandra and her companion - through a window.  Indeed, this window into Alexandra's experiences provides, like a window into her soul, glimpses of the hardship and obstacles she confronted along the way, and, indeed, the achievements at the end of her voyage of discovery.

A monochromatic scard is perhaps better alternative to the very busy, bordering on ostentatious display, that brighter colours give.

Collection FW2009: Christophe Colomb

Many years ago, almost to the day, I crossed the Atlantic myself in search of adventures that even my rich imagination could not envision, so it's appropriate that I mark the event with a tribute to another explorer, Christopher Columbus.


This is a 2009 reissue of a 1992 original, equally as impactful as the first time it was released: "Chritophe Colombe" is a tribute to the Spanish explorer and navigator whose carrack Santa Maria is prominently displayed as the focal point of the scarf, while two semi-globes, suggestive of the revolutionary thought that the Earth is round, frame the middle picture on two sides. The lower part of the design depicts the navigator's hat while a banner above reads "Christopher Columbus discovers America, 12 October 1942" (the date recorded by the explorer of the first sight of land - at 2am - by a sailor aboard the Pinta, one of the two other caravels that formed the expeditionary vessels; this territory, part of modern day's The Bahamas, was named San Salvador).

The banners at the top give the image a celebratory tone, which exudes energy and instills life into the admirer.

While the pattern is pretty busy, the scarf displays wonderfully thanks to its multitude of pastel colours that make up the design, and the light elements of flags and feathers incorporated into the design and appearing when the scarf is knotted.

Collection FW2009: Le Monde Est Vaste

An interesting design of the Fall/Winter 2009 collection, "Le monde est vaste" ("the world is vast") plays on the world map by dividing the picture into stripes and interchanging them so as to create a sense of motion, or perhaps adventure. The idea behind this design is to have a tool that helps you get lost into the world, rather than find your way.  A sure element of appeal to those romantic dreamers among us.

A very creative design, which looks great when worn. This particular colour combination is also mesmerizing !

Collection FW2009: Cocottes de soie

Today I will start the review of the Hermes Fall/Winter 2009 scarf collection with one of the most impactful scarf.


My love and appreciation for Japan is captured in this marvellous design, depicting origami (folded paper) horses arranged to form a large "H". I find the orange perhaps a little too bright to wear (I am yet to see the scarf, this is a virtual rendition of the fall/winter 2009 collection), but this scarf, framed, would make a fantastic display. 

I cannot recall whether the previous "vintage-style" scarves (of which this one belongs, of 70cm x 70cm) were as "thin" as this one, but I must confess, I was really taken by how light and uncharacteristically Hermes this scarf is.  


Of interest is also the pattern along the scarf edges, where swatches of paper (or fabric), identical to the material used to make the origami horses, are in apparent disorder - the effect of this drawing approach is to infuse both balance and a sense of completeness into the design.


Despite the surprising, "vintage" feel, I absolutely adore this pattern and I stand by my belief that this scarf shows beautifully both displayed and worn.

Collection SS2006: Les Jardins d'Andalousie

A true gem in the collection, this scarf, depicting "Les Jardins d'Andalousie" (Andalusian Gardens, by Aline Honoré) is as rich and as beautiful as the view of the Spanish landscapes (and a wonderful reflection of the Spanish culture).

This scarf, featuring hues of dark gold and brown, puts into evidence - more than any other colour variations - the richness of harvests local to the area - lemons, pomegranates and jasmin.  So I thought it best to mark the beginning of the Fall with a tribute to the hard work dedicated by countless people to the land.

The design is superbly intricate, suggestive of the Maurish architecture (illustrated by the cloister arches). The middle, depicting the scarf's title laced in "stone", is surrounded by a blast of colour and life, similar to a the impression given by descovering a basket of ripe fruit in the fall, while the geometric border, in hues of red, green, yellow and turquoise, adds a playfulness reminiscent of children's play (or one's own childhood).

A true visual feast, this design is undoubtedly the "crown jewel" of my collection. If I had to pick a single scarf as my all-time favourite, this would be it !

Collection SS2008: A vos crayons !

Traditionally in Romania, September 15th marks the beginning of the schools year (universities and colleges begin October 1st).  So I thought it appropriate to mark the event that marks school children and parents alike with an playful design first issued in 2004/2005 and reissued in 2008, called "A vos crayons !" ("To Your Pencils!").  


This scarf brings us back to the free-spirited (and worry-free) years of childhood when our imagination knew no limits. The focal point of this design is the pencil shavings scattered in the center, while colourful crayons, in an imperfect alignment, surround them all along the edges. The playfulness is further enhanced by the many colours of the crayons, and the fact that they are in apparent scatter, most pointing towards the middle while the rest are pointing away, towards the extremities. I love this design because the two elements balance each other very harmoniously - the geometric (albeit non-parallel) rigor of the pencils is graciously embellished by the apparent disarray of the shavings. I also find this design equally stirring due to its effect when the scarf is knotted. The most impactful is the cowboy knot - the scarf, folded in half diagonally, with the corner placed in front, while the sides wrap around the neck to tie in front as well - this way, the shavings are visible while the scarf edges bring further colour without overpowering the overall design or effect.

The original Hermes ad is equally impactful, featuring a truly beautiful model whose piercing green eyes are complemented by the many colours in the crayons. Note the bolduc, which she holds with her white teeth, matching the pureness of the scarf's white background.

One similar design of this scarf, with the white background and taupe and sepia crayons with contrasting hem, sold recently for no less than USD655 on eBay - almost double its retail price of last year - setting a new record.

Collection FW2003: Méditerranée

A friend of mine was wearing a sweater that resembled - and reminded me of - the Méditerranée scarf - a very stirring design that's beautiful in its simplicity. It features a more traditional patterned that, unlike many similar scarves, can become very contemporary when knotted in select ways.

So while the first days of September continue to be bright enough to call it "late summer", it is also a time when the last leisure travelers enjoy some days on the Mediterranean shores (which, arguably, is an even better time to enjoy them as the crowds will have dissipated by now).

Bon Séjour !

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.