Collection SS2011: Nuées Imaginaires

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

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

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

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

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

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

Collection SS2011: Marcelina

Happy New Year !!! 

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

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

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

Collection SS2011: Brides de Gala en Finesse

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

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

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

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

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

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

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

Brise de Charm

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

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

Au Fil de la Soie

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

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

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

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

Les Ballets Russes

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

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

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

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

Collection SS2010: Brazil

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

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

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

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

Flacons

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

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

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

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

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

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

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

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

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

L'ART D'ECRIRE

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


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


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

Collection FW2010: Soirée de Gala

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

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

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

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

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

Collection SS2003: Trésors du Nil

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

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

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

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

Les Girafes

Lovely !

Bibliothèque

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

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

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

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

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

Trophées de Venise

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

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

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

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

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

Collection FW2007: Carnets de bal

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

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

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

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

Collection FW2007: Bolduc au Carré

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


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

Collection FW2007: Projets Carrés

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

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

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

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

Collection FW2006: Touch Me

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

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

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

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

Collection FW2010: La Vie du Grand Nord

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

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

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

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

Collection FW2010: Ex-Libris en Camouflage

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


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


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


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

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


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

Collection FW2010: Cheval de Légende

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

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

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

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

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

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

Collection SS2010: Kelly en Perles

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

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

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

Collection FW2010: The Rhythm of China

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

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

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

Collection FW2010: La Charmante aux Animaux

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

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

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

Collection SS2008: Astrologie

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

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

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