Collection SS2011: Le Pégase d'Hermès

Continuing the review of the current season's creations is "Hermes' Pegasus", a fascinating scarf that catches the admirer's eye for two reasons: first, the remarkable rendition of juxtaposed equine drawings is reminiscent of Leonardo da Vinci's sketches intended to explore a subject thoroughly (and to the patron's satisfaction) before the artist began work on the actual canvas, marble or architectural construction.  As we look at this drawing, a certain anticipation builds up, making us wonder what the actual creation - which undoubtedly must exist somewhere - looks like.  This curiosity becomes our desire to learn more and to discover what intuition, inspiration, creative genius, skill and possible secrets the fruit of this passion entailed.  And the canvas' power to elicit our curiosity is the second reason this design fascinates.  The text along the four edges of the square tempts the admirer to pay attention to it, in the chance that it may reveal some of the secrets.  It is the "other" window into the artist, his intimate thoughts, possible struggles and ingenious solutions.  In a word, the writing elicits the desire to be read.


The choice of vibrant colour combinations (for the most part) renders the scarf very young and full of energy.  Select areas of the knotted scarf remind me of the "Le monde est vaste" design.  Yet the gracious lines of the drawings, unmistakably revealing a horse, assures the viewer that this design is new and deserves to be seen!

Collection FW2009: Littérature

In the age of Internet and emails, writing by hand maintains an aura of elegance and of a delicate treasure, a gift that only a select few possess. For anyone who appreciates hand-made products, the sound of a nib sliding on paper is a tremendous source of pleasure. For those who refuse to follow the flock, pens act as a counterweight to the computer age. And I must confess, I identify myself with this group, not only for my appreciation and admiration for the calligraphers, but also for my fascination with writing instruments - and the ever graceful fountain pen.


The scarf depicts an alphabetical sequence of letters in various fonts, reminding of the gift of reading and writing that we so often take for granted.  Like a novel where the stories lie hidden in the rows of letters, words, paragraphs, pages and chapters, this scarf reveals a story as well, and even features words between the lines - literally: not only the more obvious "PARIS" spelled in between the lines, but also "HERMES" - one letter at a time, found in each of the six rows of letters.


Looking at this scarf, I found my mind carrying me to a story shared by Steve Jobs, the founder of the latest world-wide sensation, the iPad.  In an address to the college graduates, he shared not only his passion for nice fonts that he studied in college himself, but how his interest, at a time when he didn't know what his purpose in life was, became so relevant when he embarked on developing a new computer and, as part of it, nicer fonts.  I found his story particularly relevant because I, too, found myself drawing on the general knowledge I cultivated during my high school and university years.


Deceptively simple, this design is remarkable for the elegance it infuses into the scarf when knotted.

Collection SS2011: Ex Libris dip dye

I spoke about this design before, but I found the Maison's reinterpretation of this pattern in the dip dye variance tremendously appealing, particularly when tied. 

The Ex-Libris, featuring two different hues of the same colour, strikes me as utterly sophisticated and a pure joy to wear.  Its velvet-like look is an equally appealing characteristic that infuses the scarf with understated elegance.  

And to quote a beloved friend of mine, this design is awesome and also awful (as in the original definition, "full of awe" - that's the word originally chosen to describe Christopher Wren's St Paul's cathedral).

Enjoy !!


I'm seizing this opportunity to say that I shall return with my articles in three weeks from today. Keep well until then and I look forward to featuring more scarves after mid-March.

Collection SS2011: Clic Clac dip dye

In the spirit of savouring the harmony of contrasting beauties the artisans' creative genius produces (this is equally valid when generalized to most aspects of our lives), I will shift my attention in this post to another kind of Hermes silk scarves.  Today's post zooms in on the "Clic Clac" design, originally launched in 1980 and reissued in 1997 and 2004 (as well as in cashmere in 2008) prior to this season's dip dye variation.  Afterall, an aesthete is a person without a precise identity in today's world, so I must be defined by my choices in the objects I feature.

The design proper has not captivated me as many others have before, in part because the juxtaposition of equestrian devices and of a puzzle-like pattern doesn't speak to me, yet the dip dye finish renders it truly remarkable - hence my choice of featuring it.  What caught my attention, however, are the symmetry of the pattern (I'll come back to this in a bit) and the whips, as the predominant motif of the scarf design.  I instantly thought of the whip as a strong symbol of the taming exercise - a reflection of the man's desire to make nature work for him, or rather his attempt to domesticate the world.  The topic of taming the savage has been explored countless times, particularly in the context of the objectives behind the taming.  But what exactly constitutes the savage?  Perhaps a concept of a melange of nature and culture (as the embodiment the animal and human being).  More poignantly, it is also a an undefined territory as a reflection of a state of mind or even a moral attitude.  Adam and Eve were expelled from the garden of Eden into the savage space - the place where humanity is supposed to seek - and achieve - redemption.  We perceive that space as a danger, but also as a state of the soul that facilitates our undestanding of the world.  Is this the reason why we feel a certain fascination towards the wildness - due to its dual effect of danger and attractiveness?

When we want to explore the savage, nowehere is the search more fruitful than the investigation of the other side of the mirror (this is where the symmetry in the pattern resonated with me).  This is one of the main reasons why the theatre and the cinema are equally appealing to me, as venues where the mosaique of the human character is fruitfully explored.

This design did not impress me when the scarf was displayed, for it combines whips with certain geometric patterns that provide a puzzle-like picture overall without a strong connetion to the ambiant world.  Yet the scarf ties so beautifully, and the dip dye treatment gives it such a soft, velvet-like appearance, I instantly recognized it as a personal favourite. 

This scarf can be either youthful or mature, depending on the colours you'd choose.  But either way, the velvet-like finish allows for an experience that's a cut above the other silk scarves...

Collection SS2011: L’Art du Temari

My interest in traveling and in discovering new places has been rekindled recently when I read an article on one of the most prized museums in Europe, the Museo di Capodimonte in Naples (Italy). The old Bourbon palace is a hidden gem for art admirers thanks to the many masterpieces of the Farnese Collection on display – paintings of tremendous high artistry that reveal so much about the variety and vagaries of the human character (included in the collection is Parmigianino’s beloved “Antea”, an arresting portrait of a beautiful young woman whose image has been used in Italy on everything from fridge magnets to tea towels and Christmas ornaments. The woman’s identity continues to be, like Leonardo da Vinci’s Mona Lisa’s, somewhat of a mystery, while her beauty is truly haunting).

The painting in particular made me think of the fascinating people that inspired such higher creation, people who – like us – held beliefs, followed customs and marked their existence with precious objects to protect them against evil spirits.  Neapolitans are famously superstitious people – but then again, who isn't?  I smile as I remember following very strict patterns when getting ready for the day ("right foot first" not only for when stepping outside or entering a new place, but also when putting on socks and shoes).  Do such habits dissipate since we become aware of becoming more mature?  Very unlikely – having lucky cuff links and ties, sweaters and jeans, glasses and even songs is case in point (not to mention that just the other day I caught myself reading my horoscope). 

It is therefore in this spirit of lucky charms that Hermes has created “L’art du Temari” (“Temari art”), inspired by the Japanese tradition of offering these fabric balls, beautifully weaved in unique patterns of endless possibilities, as juggling equipment, lucky charms, gifts for births or weddings, for a New Year or a birthday. From humble beginnings as simple toy balls for children's play, Temari create a magnetic effect on lucky recipients and gift-givers alike.

Many lose sight of the superstition involving the amulets themselves: they must be found or received as a gift, and never purchased on one’s own. Such traditions were held the world over, and have been as old as the 32,000-year old Lion Man discovered in Germany’s Hohleinstein Stadel grotto.

As a spectacular decorating focal point, the puzzle of the design is mesmerizing. The equally fascinating aspect is that stitches can go in any direction because of the random wrapped thread surface of the ball: they are not limited to the traditional “up-and-down” or “side-to-side” motions as with traditional stitchery.  Of particular interest is the intriguing pattern carried through the scarf’s surface, particularly when the scarf is tied: it appears as if some loose threads have been left undone, an as open invite to the viewer to let his/her imagination explore the endless ways that the patterns can be made. The colour combinations are pretty young, allowing the scarf to match the spirit of both younger and young-at-heart persons, due to the very playful nature of the pattern.

In the spirit of having fun with the scarf, I encourage you to consider knots you haven’t previously sported. Let the play begin!

Collection SS2011: Ferronnerie

Last week I was talking about the nostalgia of times past, and this scarf brings to life the romanticized world of craftsmanship as we would experience it today predominantly in History books. 

The year 2011 has been dedicated by Hermes to the artisans - the passionate visionaries who invest their time in intellectual or manual tasks, finely sculpting in effect the time in effect creating something with their time.  So I couldn't think of a better ode to the creative act performed with passion, pleasure and delight than "Ferronnerie" ("ironwork").

The magic of this design stems from the beauty of the precious creations that ennobled one's life in discreet yet impactful ways; its charm stems from allowing us to realize that nowadays, the need to satisfy an increasingly large market has led to mass-production, resulting in ubiquitous yet uninspiring, mundane objects.   Repetitive work, exceedingly uncreative, means degradation - not only of human activity but also of time's significance.  Time is better wasted than enslaved and left to shrivel with each day's repetitions.

Real work involves the mind and the entire body, leaving behind wrought iron hinges born of inspiration, contributing to culture and bearing witness to the passion that went into their creation.  And how glorious these finely sculpted creations are, and how precious was the time spent creating them !  That's likely because every artist is the parent of what he/she does, not only metaphorically but also viscerally.

This scarf is a successful reissue from 1970 in the smaller format (70cm).  The colour combinations in this pattern infuse a great deal of life and joy into the design - sentiments echoed by the presence of ribbons swirling around the edges.  Those same colour combinations also instill the vintage air into them, rendering them all the more desirable, despite the more traditional pattern.

Collection SS2011: Cuirs du Désert

It hasn't been since Leigh Cooke's 2007 "In the Pocket" design that I felt so exuberant about a scarf - albeit for different reasons.  Unlike the last time, when the pattern itself was the trigger of my admiration, today's "Cuirs du désert" ("leathers of the desert") mesmerized me with the colour combinations (for only some, evidently).  Upon closer inspection of the scarf design, I was equally taken by the detail of the leather pouches, bags and wallets that surround the Touareg - both as an hymn to the artisans and as a literal reflection of the objects that identify with their owners as they become the Touaregs' companions on the long journeys.  The fringes, in particular, are depicted with a great deal of attention to the original details, and that, to me, is thoroughly impressive.

Six colour variations resonated with me so much, I was at a loss for picking the two most impactful to display here, to complete the experience.  To paraphrase a friend's reaction (in a different context), this scarf is both awesome and awful - as in the original definition ("full of awe" - the exact words originally chosen to describe Christopher Wren's St Paul's cathedral).

This scarf is a perfect successful example of reviving an original design from 1988 by reinterpreting it in colours that render the scarf contemporary.  Its central depiction - the Touareg - triggered in me a nostalgia of the origins.  Increasingly fewer people can recall the journeys that the first pioneers undertook, venturing into the unknown to find luxuries available in other parts of the world - and permitting those with a love of the unique a sublime experience and access to a world of dreams.  This quest has defined Hermès since the Maison's inception and is perhaps the chief element that resonates tremendously with me - and with all the admirers of the brand. 

So in this spirit I am dedicating this post to my friend (A) whose interest in all things beautiful and loyal patronage continues to fuel my desire to bring forth beautiful, phenomenal designs.

Collection SS2011: Rêve de Corail

The tea pot amulet in the right hand corner of this design, with a monkey on its lid (that served as the inspiration for this pattern) gives wings to our imagination in this "rêve de corail" ("coral dream") design. 

Carmine, scarlet, magenta, cadmium red and, of course, coral red.... When was the last time you paused to think of a colour - and not just of any colour, but of red?  The colour red's range of meaning has never ceased to amaze the imagination and intellect.  Red's impact on cultures has garnered attention throughout history.  And yet, its deepest essence continues to remain a mystery. 

Reds were the first colours to be used by the Neanderthal man when he began to paint and dye, long before he discovered how to extract the other colours from plants, roots and animals.  In fact, red is not only the first colour known to man, it is the first man: the Judeo-Christians believe that God created man from red clay and gave him the name Adam, which in Hebrew (the language that God used to communicate with mortals) derives from the word "red".  God was so passionate about his creation that he hid his colour from plain view.  He let blue reign over the firmament and the endless seas, while green was allowed to proliferate over the brown earth.  But red was reserved for an intimate place inside God's most beloved creations - particularly in the flesh and blood of his own image on earth.  Red became the colour of beginnings and endings, of sunrises and sunsets, of birth and death.

The biblical Near East and Mediterranean Europe - the Hebrews, the Greeks and the Romans - loved red and made it the colour of power and beauty.   Since very ancient times, red has been perceived as beautiful, bright, lively and joyous - arousing admiration, pleasure and good fortune.   In early Christian art, red was considered the colour of divine love, subsequently transported to the cardinals' vestments.  The cardinals of the Roman Catholic Church have for centuries worn red as a symbol of their willingness to uphold the faith to the point of martyrdom.  Yet Christianity also introduced a negative, disquieting and deadly interpretation of red - in contrast to its positive resonance.  Then came the development of a chromatic symbolism based on the four cardinal points: two of the referents for red today remain fire and blood; only now, one must carefully distinguish between good fire and evil fire, between good blood and bad blood.  The red of fire, in its benevolent manifestation, is that of the Pentecost and of the Holy Spirit.  It is at once light and breath, powerful and redemptive.  It is a red that shines, lights, heals and heats - just like the sun.  Its malign aspect is the red of shadows, the flames of hell that burn without illumination.  It is the satanic red that burns, wounds and destroys: the red of Judas' hair, the fur of vermin - like the treacherous fox - and above all, it is the red of the wily, lying, lustful and proud man.  In Christian culture, blood red is largely that which gives life, transmits vital force, purifies and sanctifies.  It is the red of the Saviour, the blood spilled on the cross to save mankind.  It is a sign of vigour, energy, fertility and redemption.  Conversely, red associated with bad blood is the symbol of impurity, violence and sin.  Red is the stain of rage, of war and of death.

To paraphrase Wassily Kandinsky, in no other colour would one see so much contrast than in red.  Anyone who knows passion knows red.  Red has always been first among the colours of the spectrum.   Its primacy is not merely an arbitrary aesthetic choice; there is something imperious about red that makes it stand out.  Indeed, red is a colour that demands to be seen ! 

And seen it is in this "rêve de corail" ("coral dream") design (as displayed above), where an apparent endless string, displaying coral pebbles in sequence, unwinds right before our eyes as an open invite for anyone to touch the "charms", the many artistically executed marvels of craftsmanship...  or, conversely (mirroring the dual symbolism of red), the strand tempts our gaze to identify its loose end and from there, to follow the pebbles.  And in this game of seduction, the coiling strand steals our gaze and hypnotically draws us closer and closer to the centre, leaving us wondering about just where that path will take us and ready to step beyond, to quench our curiosity, despite the change of getting lost.

Even though this pattern reminded me of Valerie Dawlat-Dumolin's 2004 "impose ta chance" design, I loved it when I saw it displayed, because its assymetry resonated with me instantly.  Yet, when knotted, I find the scarf becomes somewhat traditional - is it the tassle-looking images in the corners?  I'm not sure why, but I find the scarf loses part of its charm and magic when tied.  

Still, I love this design for its power to make us dream, and I'd recommend it for anyone with a passion for marinelife or just for holiday destinations with a view of the ocean - but be sure that the colour matches your skin tone, for not all colour combinations are equally as impactful as the one above.  

Collection SS2011: Mots de soie

Writing came about as a result of the prehistoric man's need to record the production and exchange of the goods he produced.  Since then, the art of writing has recorded the entire range of human experience, from the sacred to the profane.  Writing was destined to supply and preserve a record of the past, even at the expense of our ability to memorize.

Hermes pays tribute, through this design, to the written words - words recorded on silk as a metaphor for all future generations to discover, embrace and protect the tasters of the past.  The composition is very similar to "Le monde est vaste" - a design I spoke about last year, and a more recent design - "Les dix cavaliers" - of June 2010.  What I found surprising is the designer behind this scarf: no other than Virginie Jamin, the creator of "Belles du Mexique".  This pattern is such a departure from the previous style and approach.  To me, what just such a departure indicates is the designer's versatility in expressing herself in a variety of styles, which may be encouraging or not, depending on the results.  I would take the liberty to predict that this design will be nowhere near the previous one in terms of popularity.  Still, the actual words recorded on this scarf are charming, full of positive resonance and simply enchanting. 

And since we touched on the concept of beauty in the context of the written word - as an integral component of a culture's most distinguishable expression: the language - a final thought on what would make a language beautiful.  Early on, I used to think that certain languages (such as French, Italian and Greek) were truly beautiful; yet, with the passing of time, I came to realize that what makes a language beautiful is the speakers' choices of words (similar to a wedding, where beauty is dictated not as much by what the bride and groom wear, but rather by what all the guests wear, for when everyone is dressed elegantly, the entire wedding is elegant).   So I cannot think of a more elegant invitation to all those who harbour a special appreciation for languages to search their memory for the words that had a special resonance with them throughout the years and enrich their communication styles with them.

Due to its many colours in this combination and the additional characters (in complimentary hues), the pattern is quite busy, so the choice of this design will certainly reflect the wearer's personality (for instance, the scarf featured above has very strong colours, meant to reflect a strong personality whereas the one knotted below has very soft colours, mirroring a more discreet person).

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 !