Le Carnaval de Venice

Today's post is the 100th on my blog, a landmark accomplishment worth being celebrated with a spectacular design that epitomizes the Celebration.  To mark this accomplishment, I couldn't think of a better design than the original "Le Carnaval de Venice" ("The Carnival of Venice") by Hubert de Watrigant. 

This design has withstood the test of time.  After so many years and countless fashion trends, this design continues to fascinate me thanks to its vibrant harmony and mysterious dynamics, the Venetian masks depicted in every corner as well as the participants, dressed in character costumes.  These elements, uniquely identifiable with Venice, are wittily depicted across the scarf elegantly and harmoniously.  Interestingly, this mosaic of pictorials

As your eye focuses on the pictorial placed in the center of the scarf - depicting an equally impactful and prominent St. Mark's bell tower overlooking Piazza San Marco (St. Mark's Square), you notice the passers-by, themselves dressed in period costumes, admiring the symbol of the "Serenissima" Venice.

Perhaps more than anything, this is one of my all-time favourite designs, and what's a beautiful gift if I cannot share it with friends ?

Happy 100 posts, and may you savour many more posts whose subjects - the beautiful Hermès scarves - will continue to fascinate, mesmerize, and ultimately inspire you.

Collection FW2010: Très Kelly

This design caught my attention not so much for the actual theme as for the freshness of the design despite its reminiscence to "Bolduc", a scarf issued in 1983 and reissued many times since, in different sizes and on different materials, to great success.


"Très Kelly" ("Very Kelly") is a tribute to the iconic element of the Kelly bag, and of many other successful Hermes bags: the leather straps (they are paired, one from each side) that secures the bag shut.  Kelly is, of course, the name attributed to one bag model that the late Princess Grace Kelly carried.  She was pregnant at the time and when confronted by a group of paparazzi, decided to keep the pregnancy away from their peering eyes so she covered it with her bag.  This is the legend that saw the bag's baptized "Kelly" and gave birth to a cult around the world.  


Unlike the "Bolduc" (which featured the object that gave its name to the scarf design - the thin ribbon used to tie gift boxes), "Très Kelly" features one element, absent from previous designs, that heightens the interest in this design: the metal clasp of the two leather straps - an element that breaks the monotony of the design by adding variety along the lines of the straps themselves visually, both by way of a different pattern (albeit discreet) and of a different colour (in that sense alone, the apparent randomness of the individual clasps reminds me of the flight of countless insects - be it ants or bees).


When knotted, the scarf illustrates the pattern in much the same way as the Bolduc scarf does, except the element of fetish here - the leather strap and the metallic clasp - confer this scarf a stronger, more confident personality, traits that the person who wears it (uniquely suited for both men and women) is likely to share.

Collection FW2010: Quand Soudain

I am very excitedly welcoming the new Fall/Winter 2010 collection of Hermès scarves, just as the peony flowers have recently blossomed in Toronto.  

The focus of today's post is "Quand Soudain" ("when suddenly"), a set of four instantanés ("snapshots") from Paris, depicting the Montmartre hill (with its highly recognizable symbol, the Sacré Coeur cathedral, the House's iconic flagship store and head office at 24, rue du Faubourg St.-Honoré, a close-up of a horse's head, a depiction suggestive of the equally iconic horse atop the House's building, and finally a horse in apparent flight. 

What I find fascinating is the style of the story line, as told through images - reminiscent of the cartoons so beloved by children.  I grew up with several -old- issues of the Pif Vaillant and Arthur (le fantome) magazines (back in the days, Romania was under Communist regime, so those issues must have belonged to other generations from another era), French comic strips (bandes dessinees) with lovely characters such as dog called Pif, and a fantome (Arthur) and their adventures both at home at on foreign lands, during their travels.  The captions on this series of images, starting from the upper left hand corner and descending diagonally across, read - just like a comic strip text - "at the same time, in Paris, all was calme", followed by "when, suddenly" and "to be continued".

Although the approach of dividing up the overall scarf space into strips of different pictures is not new, this scarf is particularly charming because it contains so many references to Paris and to Hermès, which - themselves - trigger a certain fascination and instill in the admirers a desire to pack their bags and head to the Capital of Lights to enjoy its refinement.  One reason I recognize such an effect of this particular design lies in its depiction of photo-like images, rather than partial pictures of previously released designs (of course, the air of nostalgia triggered by looking at those images, drawings replicating the real world, just like a children's comic strip, only adds to the scarf's beauty).

Disappointingly, the scarf does not pay necessary tribute to its design when knotted.  The majesty is the design is simply lost, appearing simply as unidentifiable colour "stains", perhaps appropriately and skillfully achieved as a "vintage" scarf.

Collection SS2010: H comme Histoires

The concept behind this scarf has been the ubiquituous designs found on older, leather-bound story books, so rare yet so dear to children and parents alike.  Glacing over such sophisticated lettering carries my thought to the excitement that every child experiences upon seeing the parent, grandparent or otherwise the special person holding a story book, ready to enchant the little ones with the searches, voyages, free spirit, bravery and gentleness of heroes of times past.

My fascination with this design stems from the illusion of (time) traveling that this pattern induces - as my eyes glance over the entire scarf, from the lower half of the design (which is the focal point on the scarf) across its upper part, I perceive the design as one of those images associated with the sensation of gliding over territory from an airplane, or more appropriately a time capsule, at ever increasing speeds.  The horizontal lines, reminiscent of the lines across a musical partition, send the viewer on a journey to the right of the book cover, expecting the reader to uncover the pages and dive into the fascinating worlds hidden beneath.

The scarf ties surprisingly gracefully, with its pattern showing only discreet elements of its design.  Really wonderful !

Collection SS2010: Lilanga

Featuring a fantasy design, this scarf took its name from the Tanzanian artist George Lilanga whose claim to fame were the paintings realized in the same style, featuring local village folk attending to various activities in their daily lives, portrayed in humourously with large ears, elastic and contorsioned legs and otherwise simplified facial expressions.  These stylized figures and abstract splashes of colour alternate, to instill a movement uniquely captured by this design.  Lilanga is thought to have painted his characters to reflection the image that he retained from his own years in primary and secondary school, years marked by a vivid happiness. 

The story of this scarf is equally fascinating.  Hermes Art Director Pierre-Alexis Dumas felt inspired to transpose Lilanga's paintings on silk following the former's encounter with Jean Pigozzi, the famous contemporary African art collector whose collection includes artwork by Lilanga and who has taken an interest not only in the discovery and conservation of African art, but also in the making process. 

Of interest about this particular design is how balanced the entire scene appears, despite the busy patterns, given by both shapes and colours.  Ideal for those who could rely on a cartoon-like pattern to enhance their beauty and - more importantly - complement their personality.

Collection SS2010: Les Dix Cavaliers

An old legend tells the story of this horseman, riding endlessly across the vast world, never dismounting. Feeding only on the infinite spectacle of the thousand and one countries crossed, he meets nine other solitary horsemen in succession, arriving from every corner of the universe. Then, as if by magic, the ten riders get together and join up to form one single horseman, the carrier of all the legends. Brimming with all their knowledge, this rider continues to traverse the world, until the end of time. To illustrate this encounter, the design of the carre Les Dix Cavaliers has been divided into ten bands, each dedicated to one of the horsemen.

The pattern is reminiscent of the “Le monde est vaste” pattern of last year’s collection, in both concept and realization – with the original canvas “sliced up” and the stripes put back together in an apparent random fashion. Unlike the previous pattern, however, where the softer colours rendered the colour combinations harmonious, the horizontal stripes make this design appear fairly busy, thereby inducing a certain tension in the overall scarf. It definitely requires a strong personality to sport it, as the colours on their own – and the contrasting colour combinations are fairly strong.

Collection SS2010: Quintessence

I have originally dismissed this design as incoherent (or should I say “dissonant”?), and while I continue to stand by my impression, I found the theme intriguing enough to merit a critique.

The title of this scarf is “Quintessence”, a direct reference to the mystic concept of the fifth element that defines our universe (throughout the human history, various cultures identified the four elements that together made up the physical space in which we live as “air”, “earth”, “water” and “fire”. Given their critical and intimate roles in our lives, they were referred to as “essences”; hence, “quintessence” – from the Latin “quinta”, meaning “five”, and “essentia” – “essence”).

In the classic science fiction movie with the same name, the fifth element that bound us together was love; in the world depicted by Zoé Pauwels, it refers to a movement of fantasy and mystery, describing the Genesis through music played by angels (similar to a previous design, by the same artist, called "la danse du cosmos").

With many large-sized elements, the focal point of this score is the ornate treble clef (also known as the “Sol” clef, the name of “G” in the solfege, whose shape is probably derived from a cursive “S”), to the left, juxtaposed with the equally ornate bass cleff on the right (the word “solfege” ultimately derives from these two syllables, “sol” and “fa”). They set the tone for the overall theme and invite the spectator to tune in to the other elements of this creation.

As my gaze sought the rest of the carré, I found myself overseeing the white object depicted in the lower half of the centre, and up towards what appeared as celestial skies. On closer inspection, however, I recognized an hourglass whose passing of the sand from one receptacle and into the other, measuring the passing of time, is perhaps reflective of the rhythm of music and life. The celestial skies may also carry the admirer – as in a fantastic world – to our galaxy, as a reflection of the universe that music creates – its place, at the top, perhaps not random in suggesting that music is indeed uplifting.

In the lower corners of the scarf, music springs out of the necks of two violins, as if to indicate that the substance of the cases themselves evaporated into the ether (the fifth element) and what’s left is the music. The upper corners echo the lower ones with harps – the instruments of the gods – from which music continues to flow in an enchanting way. Each of these instruments – real or imaginary, as if in a fantasy – rest on stars that shine over all creations (remember, the light is the most powerful and recognizable symbol of the Divine). Perhaps the most impactful are the two celestial stars along the main “North – South” axis of the scarf, appearing to shine brighter than any other.

Potentially missed during the first “interpretations”, each of the two angels in the upper half of the scarf are resting on the Sun and the Moon, perhaps symbolic of the beginning and of the end. Finally, take note of the existence of the astrolabes, signifying the human poise to reach beyond the visible limits of our world, to discover and explain the universe.

The design is not necessarily harmonious, but is arguably maintaining an internal equilibrium, suggestive of a moment suspended in space when the motion of the stars may be observed and appreciated.

The final word is that Pauwels' style is distinct enough as this design reminded me of "La Musique des sphères", most recently released in 2007.

A la gloire de la cuisine française

Last night I had the great pleasure of meeting Mireille Guiliano, renowned author whose claim to fame came from her intimate involvement with Clicquot Inc., the owner of the Veuve Clicquot champagne (as the firm’s then-CEO, she is credited with resurrecting the brand, achieving double-digit sales growth year after year, and ultimately claiming 25% of the market of high-end champagne consumers). The context of my meeting her, however, had less to do with bubbly and more with her efforts to promote her new cookbook, entitled – stirringly – “The French Women Don’t Get Fat Cookbook”. I must confess I didn’t know much about the person, and less so about the content of the book, but her charisma and her encouragement for healthy eating aroused my curiosity and interest, so I went to the book-signing event in Toronto last night. Marvelous person (“un phénomène”, as I’d say in French) !

Her secret – wholeheartedly healthy, I’d add – is to have smaller portions, a strict three-meals-a-day regimen and embrace wholeheartedly culinary diversity. In fact, she is quick to point out that attitudes, above behaviours, must changes: people (note that I don’t restrict the term to just “women”) should consider cooking an act of love, where the results are immediate (unlike a business activity, which may yield results over a much longer period of time).

Anyway, what best to describe the experience than by offering a luxurious glimpse into the French cuisine? “A la gloire de la cuisine française” (“to the glory of the French cuisine”) is an ode to the many creations that continue to fascinate gourmands and general folk alike (Mireille insists meals should not be gulped in 5 minutes, as the brain requires about 20 to process that the body is satiated and hence the quick meals turns into added calories – besides, where is the pleasure of having and indeed savouring the meal?).

This scarf, designed by Robert Dumas (related to the founding family of Thierry Hermes by association and the first non-descendent leader of the firm) was issued in 1942 and reissued in 1989, followed by a 2005 all-cotton (70cm) version. Despite some elements that reflect that era (such as the folds in the table cloth – the gourmet items are layed out onto a clothed table – , which, by now, would give an impression of “out of fashion”), the appeal of this scarf continues. Of particular interest to me is the “sparse” design; unlike many other scarves, this one features elements that support the theme laid out as if served – independently – at a dinner table … so participants enjoy the entire experience fully. If cooking is an act of love, should we not employ all our senses to savour the experience ?

Collection SS2010: Les Poneys de Polo

Typical Hubert de Watrigant, "Les Poneys de Polo" ("The Polo Ponies") uniquely captures the noble animals during both games and their time off. While the creativity is readily apparent, the originality of this "canvas" is not.  In fact, this design struck me for how much it resembles last year’s “Chevaux Qataris” (“horses of Quatar”) and 1987’s “Monde du Polo” (“World of Polo”, reissued in 1998).  The two previous designs’ “love child” ?  Perhaps…  Yet, it would have been much more refreshing to harvest the pony theme in a different … fashion.

Nevertheless, based on its own merit, this scarf is quite dynamic thanks to the ponies in motion (and to the jockeys in various positions).  More, the background lines, each of a different width and all horizontal as if parallel to the “ground”, further enhance the dynamism of the design.  Finally, the patterns all along the scarf edges - reflective of the Argentinian belts (in recognition of the small, muscular, wiry and agile ponies, typically Argentinian) - add a certain playfulness that enhances the free spirit of the players.

The colour combinations are quite contrasting, more of an exception rather than the rule when it comes to Hermes designs.  In this case, yellow, cream and dark brown, next to each other, bring forth a vibrant undertone (perhaps reflecting the palpable tension during the games).

Unlike many scarves, that are quite versatile in terms of being matched (or complimenting) diverse patterns, shines, colours and textures, I’d be inclined to pair this one with a monochromatic blouse, unless it’s worn as a more “discreet” accessory, such as in lieu of a belt, or as a bandana.  Undoubtedly a statement scarf !

Collection SS2010: Tours de Clés

This scarf is a reinterpretation of the the "Keys" design so successful, so popular and so beloved in the House's collection.  I consider the colour combinations unconventional in that they manage to be interesting without necessarily being top-of-mind when one thinks of combining some colours.  The circle motif, adopted as the background of this scarf, brings a certain energy into a pattern, yet another element that contributes to the contemporary effect of this design.

Collection SS2010: Sur les Rives du Léman

This scarf pays tribute to the remarkable Lake Geneva and, in particular, to the memorable times visitors and locals alike are inspired to have.  Lake Leman (the French name of Lake Geneva, whose shores are shared by Swiss and French) has been a symbol of high-life, of an oasis and of an unperturbed atmosphere whose waters are crystal-clear (as a testament to the care about the environment and the high standards of quality adopted by Swiss and French alike).

"Sur les rives du Leman" ("On the shores of Lake Leman") has been realized in the impressionist style, with silhouettes in lieu of picture-clear depictions of people - just as someone would remember after years following a particular event.  The sail, forming the focal point of the scarf, may also be suggestive of the "jet d'eau", the large fountain and one of the City of Geneva's most famous landmarks, that jets from within the lake high up, making it one of the tallest fountains in the world.

Just as my memory of 2005 of the main shopping street in Zurich on a lovely autumn Saturday, when folks dressed up with hats, furs and walking canes were enjoying the beautiful weather, the characters depicted in this design appear dressed elegantly for their "time out on the city", which adds further character to the "canvas" itself.

Finally, the scarf was issued in the "vintage-style" silk, in 70 cm x 70 cm.  The technique that renders the "picture" so lovely is unfortunately lost when the scarf is knotted, making it appear more like an ordinary scarf than anything extraordinary the Maison is known to have produced in the past.  Yet I perceive this design as a lovely exploration and experimentation.

Collection SS2010: La Légende du Poisson Corail

This design, entitled “La Légende du poisson corail” (“the legend of the coral”) is a tribute to the very fragile universe created by corals – veritable marine oases where countless species of fish and plants find shelter from the dangers of their mysterious universe – and fertile ground to flourish.


The design features a coral reef, encircled by a prominent ring, mirroring that of a coral atoll. The richness of the surrounding universe – and that within – is represented by the colourful impressionist brush strokes, suggestive of the shimmerings of the water. At the centre, the fish, adopting camouflaged costumes to merge with the surroundings, took refuge among the corals to escape predators. Bars, streaks, diamond-shapes … mimicry blends with fantasy to create a magic world. At each of the corners of the carré, stylized flying fish symbolize the harmony between the heavens and the world below the waves.


This design strikes me for its resemblance to "De Madras à Zakynthos", despite the two different artists. The design is quite effervescent, with most of the design colours quite vibrant and contrasting, so it takes an equally powerful personality to pull it off.

Collection SS2010: Pelages et Camouflage

This scarf is an ode to the infinite inventiveness of Nature, to its diversity, in all its splendour, and to the most visible gift endowed upon all creatures - their "habits". Pelages et Camouflage ("Coats and camouflage") is equally a tribute to the human nature’s creative drive to mirror the beauty of nature.

From her native Africa and her imaginary travels, Aline Honoré has brought back a mosaic of the sumptuous, the exuberant and the wild. This scarf is a patchwork mixing up these treasures of primitive prints, sewn together and embellished with necklaces of Massai pearls in between, from Senegal and from Ethiopia, a Peul wall-hanging, fabrics from Ghana, Zaire, Mali and craft embroidery. Among all these protective disguises, notice that of the imaginary animal, marked by H’s, taking cover among the rest.

A truly magnificent scarf that ties wonderfully as it displays with impact and class.

Collection SS2010: Brides Rebelles

Another design that I found appealing is the "Brides Rebelles" ("rebellious bridles"), depicting multiple pieces of the horse's harness in an apparent disorderly state. The appeal stems from the pattern's apparent harmony in spite of the "disorderly" hardware.  More, there's a certain tension surrounding this creation - tension given by the connotation of straps suggested by the envelopping leather bridles (with a strong fetish undertone).  Yet, the image is mysteriously balanced thanks to the loose ends that succeed in dissipating such potential tension.

The inspiration for this design came from a photograph of actual headstalls, manufactured by the House for the Polish Earl Zapotosky.  These very briddles were the subject of very fond correspondence between the 4th Hermes president, Robert Dumas, and the curators of the Royal Castle National Museum in Warsaw. 

The actual briddles had been laid on the ground and photographed, from which the actual drawing was realized.  Of note are the family crests on the hardware, discreetly and elegantly displayed.

The casual tone of this scarf, as well as its "non-conformist" colour combinations of the pattern, are equally appealing.  The ones featured here offer a good glipse (mustard yellow as the predominant background, above, and the taupe for the knotted one, below, are only two of the variety of colours that enchant the eye) into the youthfulness of the pattern.

A true ingenious design that attains harmony by depicting elements in no apparent order - one that is likely to become an instant hit with the collectors and admirers alike. Fantastic !

Collection SS2010: Les Dômes Célestes

One of my favourite designs is entitled "les domes celestes" ("the celestial domes"), whose patterns have an intrinsic harmony despite the apparent randomness of the forms depicted in it.

As I came to discover and appreciate, many microorganisms mirror large ones that can reach spectacular dimensions - such as a human hair, which, under a powerful microscope, reveals striking similarities to a tree trunk - so it is not surprising (rather I find it fascinating) that the individual elements of this design are suggestive of the shells of exotic marine creatures, despite the celestial suggestion of the title.

Yet, on closer inspection, this pattern reveals a mystery that even the initiated eye is in for a big surprise.  This scarf pays tribute to the architects, engineers and builders whose imagination, courage and perseverance in overcoming some of the highest technical difficulties produced legacies of utmost, arguably divine beauty.  The design depicts eighteen cupolas - ceilings of chapels and palaces from around the world.  The initiated eye can identify the dome of the Saint-Paul Saint-Louis church in Paris, the new synagogue of Szeged in Hungary, those of the great mosques of Cordoba and Constantinople, the church of Saints Peter and Paul in Krakow, and even the audacious triple dome of the sanctuary of Valinotto, near Turin.

This scarf ties wonderfully, with the pattern revealing wonderful asymmetrical shapes, which are further enhanced by the "threads" that enrich the design, suggestive of a festive setting where such "threads" are hung from the ceiling in an elaborate decor.

This colour combination in particular is quite impactful.

Collection SS2010: Fairytales

Expected with a great deal of anticipation and renewed hope, the Spring/Summer ("SS") 2010 collection was received with mixed feelings. On the one hand, the new designs stirred the admirers and collectors of the Maison's silk creations alike; on the other, many felt the scarf designs have fallen short of the "timelessness" test.  Instead, the followers' opinions, shared by me as well, echoed a single strong sentiment: that with few exceptions, based primarily on colour combinations rather than the patterns themselves, the individual creations were reminiscent of previously released designs, and meant to appeal to tastes beyond those of the loyal Maison followers. Is the Maison attempting to appeal to a younger generation ? Or should we celebrate instead the endless creativity that Hermes is recognized for, even when such attempts may not elicit the anticipated reactions ?

Today's post features the scarf pattern that imposed its theme - and title - to the entire collection: "Fairytales". The design, suggestive of a children's drawing, brings together the many characters that filled countless children's (and parents') evenings while fueling their imagination.  Some may argue that the characters depicted in this design are the ones that became children's intimate friends and have remained loyal to them throughout their lives.  Fascinatingly enough, these tales set strong examples in every child's mind, thereby instilling the society's and parents' values from an early age, and in this respect, preparing the audience for life in an engaging, yet psychologically safe, journey of discovery.

I find the pattern very busy, and while the pastel colours are soothing, I find the scarf's appeal is diluted by the heavy and convoluted design.  I would even go as far as saying that the "drawings" in their entirety are somewhat aggressive, bringing a certain tension to the overall design, in stark contrast to what I'd expect to see in children's books.  It would definitely fit the "fantasy" pattern, where the elements coexist all at the same time without necessarily being linked by either time or activities... fantasy perhaps reflective (and defining) of the entire collection.  Yet I don't anticipate this design to be one of the many sought-after ones that their beauty and appeal have turned them into desired collectibles.

Collection SS2006: Regarde Paris

I have introduced several days ago a magnificent scarf that illustrated the Maison's legendary establishment at 24, rue du Faubourg St.-Honore, as perceived through a kaleidoscope. Today's post features an equally enchanting view captured on canvas, as perceived through a telescope.

The instrument, believed to have been invented by Hans Lippershey in the Netherlands in 1608, has been improved the following year manyfold by Galileo Galilei (considered the father of modern science thanks to his remarkable research, discoveries and inventions in the fields of Physics, Mathematics, Astronomy and Philosophy). It is thanks to the telescope (or spyglass) that objects far into the distance can be seen at arm's length ("Science has eliminated distance" as Gabriel Garcia Marquez famously wrote in "100 years of solitude"... and the character Melquiades wittily proclaims: "In a short time, man will be able to see what is happening in any place in the world without leaving his own house").

Issued in 2006, "Regarde Paris" ("Watch Paris") is an invitation to discover the City of Lights. The scarf zooms in on the soul of the city - l'ile de la Cite - the name of the larger island on the Seine where the first documented settlements occurred.

While the image is lovely, one can discover, upon closer inspection, that the illustration is created by thin lines suggestive of a pencil drawing, which, on its own, would render those particular details perhaps too abstract when the scarf is worn or even folded. The white inner corners however bring a visual balance to the scarf when knotted, and this particular colour combination of orange, white and black, is a lovely "piece de resistance" in anyone's collection.

Collection SS2002: Musée Vivant du Cheval

The interesting aspect of this scarf is that its title is as much symbolic as it is real. The "Musee Vivant du Cheval" ("Living Museum of the Horse") is dedicated to the establishment in Chantilly, France (housed in the Great Stables of the Chateau de Chantilly) committed to the equine art and culture.

With a long history to build on (the stables were erected in 1719 by Louis-Henri, duke de Bourbon, who believed that he would be reincarnated as a horse and hence commissioned the architect Jean Aubert to build the stables so as to reflect the majesty of his rank), the Living Horse Museum draws countless crowds from all over the world, who undertake the trip, some 40 km North of Paris, to admire the horses, of some 30 different breeds, following daily routines. In addition to various exercises, the horses take part in "educational" demonstrations, where riders, dressed in the museum's period costumes, lead the horses to perform "airs" for visitors.

The scarf captures such "airs" performed by the horses, while the middle reveals an additional illustration of the actual museum building. In his traditional and renowned style, Hubert de Watrigant (the painter who created this design and whose select creations are exposed inside the museum) has depicted the horses with accuracy and with a great sensibility for the detail.

A pleasure to wear, the scarf shows beautifully around someone's shoulders or neck.

Collection FW2007: Pani la Shar Pawnee

This design is the fruit of the talent and effort of an unsuspected artist, Kermit Oliver, a native of a small Southern Texas town called Refugio. A mail sorter by day and a prolific artist during his leisure time (he is said to paint at his kitchen table), Oliver was the first American artist to design for the Maison. He describes himself as reclusive, almost ascetic, an individual who communicates and expresses himself through art (he is equally notorious for spending hours on end outside galleries where his art was exhibited, not being able to decide whether to step inside or not).

This design depicts a Pawnee Indian chief. Of particular interest is the character's face, which is not only complex to realize graphically, but also very expressive. As a point of reference, a regular scarf may be subjected to 25 separate colour applications to render a particular design; this scarf required 36 screens, of which 11 alone to convey the skin tones in the face. As a result, this design famously remains one of the most complex ever produced by Hermes.

Released in 1982, this scarf has been reissued numerous time thanks to the wild popularity of this design. It ties wonderfully, thanks to the Native American motifs playfully arranged along the edges and illustrated on top of apparent geometric lines, and due to the many releases in numerous colour combinations, this design is sure to appeal to almost anyone with a discerning taste.

Feux du Ciel

I must confess, I had disregarded this design at first, likely because of the colour combination of the scarf that I first came across, yet as I discovered other colours, I realized that there was a certain passion and harmony intrinsic in this design.

"Feux du ciel" ("Sky Fires") depicts fireworks - or even comets whose incandescent tails leave trails of fire behind them - against a starry night. The viewer appears to be drawn into the unknown with a great deal of anticipation for the object - or person - that is about to appear, born from the "fire" that several such objects, taking center stage, create. So after a second review, I recognized the intensity of the image and the passion it triggers.

This pattern was first issued in 2000/2001 - in both silk and cashmere/silk combination, and again in 2003/2004.

While I haven't seen this scarf knotted, I anticipate it renders the scarf stunning - particularly when the contrasting colours are revealed (or hidden) in a knot.

Hommage au carré

Happy 2010 !

I have searched for a design that was symbolic of a new beginning, a new direction, a new outlook on life, renewed hope and optimism - to represent the beginning of a new year (and of a new decade). Something dramatically different - and my mind set on a scarf Hermes has created in a limited series of 200 pieces each last year available exclusively through its Paris boutique at 24, rue du Faubourg St.-Honore.

"Master" and Bauhaus teacher, initiator of the Op Art movement (op art, short for optical art, is a genre of visual art that explores optical illusions), Josef Albers (March 19, 1888 - March 25, 1976) was a German-born American artist whose work, both in Europe and in the US, formed the basis of some of the most influential and far-reaching art education programs in the 20th century.

Starting in the 1950s, the artist created a series of paintings entitled "Hommage au carre" ("tribute to the square") that served as the inspiration for these scarves. Hermes has kept true to the originals. Veritable paintings on silk retracing the artist's research on the interactions of colours, these scarves pay tribute to Albers' contribution to the world of art as well as to his continuous explorations of the power of colours.

The upper picture is entitled "Joy" whereas the one below is called "Greek Island".

These scarves have retailed for € 2,000 apiece.

Collection FW2009: Zabavushka

I thought it appropriate to end 2009 with a post that reflects the Christmas season - while paying tribute to distinguished craftsmanship, artistic sensibilities and vision. 

A friend once confessed that he was dreading Christmas because he felt very lonely, and this holiday triggered a longing for real friendships perhaps as much as he recognized he had none. While his statement was surprising, I interpreted it as a profound need to connect with people, and experience a sense of belonging.

Such statements - and such longings - resonate with me and, while they may come across as dramatic, I love the profound and meaningful friendships that I have been only too fortunate to have come across and cultivated.

Christmas, for me, marks a time to pause, to reflect and to believe in the possibilities of rebirth and renewal (Christ's birth in Bethlehem so long ago remains a powerful symbol of hope in a better future). It is also a time when we renew our stock - symbolically or effectively - with gifts that are strong symbols, in my mind, of the spirit of renewal and renewed hope. So it is in this spirit that I picked "Zabavushka" as the perfect Christmas item.

Russian for "fun", "Zabavushka" is a composition of references to various children's games and heroes from children's tales. It reminds me of the coffers of toys I always imagined children to have (I was never that lucky) that open up to reveal entire universes hidden away by a simple lid. While many toys are universal (the train and locomotive, the castle, the horse, the rider, dolls and lettered cubes), the design equally contains elements that make reference to specific Russian traditional folklore or fairytales, artfully inserted throughout the scarf (the matryoshka dolls, the ornate turkey, the horse rider and the dancer). The assembly of all these elements is somewhat disorderly, perhaps symbolic of the contents inside a toy chest. Given the busy design, this scarf is more appropriate for someone with a strong sense of self who wouldn't shy away from displaying it.

Thanks to the rather incongruous design, I loved the message this scarf sends: despite a mishmash of messages and items, perhaps even dissonant gifts, Christmas is a time to celebrate and to find comfort in folks thinking of us, sending love and thoughts our way, and even finding sometimes the perfect little gift to uplift our spirits.

2009 is coming to an end, and with it we choose to remember - or forget - the events that took place throughout the year. An end means also a new beginning. As our hearts fill with joy, as the hours shine more brightly and as our hopes blossom, may we all welcome 2010 with renewed energy and optimism, and enjoy good health, accomplishments and inner peace throughout the new year and beyond ! Happy New Year !

Fêtes Vénitiennes

This is a reinterpretation of the "Venetian Feasts" composition on cashmere/silk. The colours are autumnal (in particular the border's aubergine, forest green and mustard orange), yet the twirling ribbons, the Venetian masks and the dressed-up characters depicted around the center instill a playfulness reminiscent of the nature's rebirth, a sentiment that only a select few designs achieve.

The focal point is a rendition of Piazza San Marco (St. Mark's Square), the administrative, social and cultural heart of Venice.

I have been fascinated by this scarf from the moment I discovered it in someone's very lovely treasure chest (she herself a uniquely lovely lady) and I continue to find it enchanting in all aspects.

Unlike pure silk, whose weaved fibers tend to render the finished product a little more rigid, the make-up of this fabric (65% cashmere, 35% silk) allows the scarf to lay graciously around the wearer's neck, shoulders or waist, instilling an enchanting elegance, different than the effect of pure silk yet equally distinguished. The texture itself adds an additional layer of depth to the design, the herringbone pattern of the weave becoming visible from close-up.

Collection SS2005: Onde de Chic

I settled on this scarf today not only because of its playfulness, but also because the image of the horse inside the pattern is like a treasure discovered in the days before Christmas - when, as a kid, I used to rummage through the entire house in search of "Santa"'s gifts. Often times I managed to find them successfully, and the excitement increased exponentially in anticipation. As a grew older, I gave up the searching part, but I held on to believing that a gift is even more impactful if it's something I want, and less so if, upon opening the package, I'd discover something I didn't care for. So ordering my own gifts continues to be a way of life for me.


Dimitri Rybaltchenko created this design in 2005, depicting two super-imposed images of the same "onde de chic" ("wave of chic") pattern, slightly off-center relative to one another, with the one in the background of the same colour scheme but faded in intensity. Within the pattern there's the image of Pegasus, a winged horse that appears to be in flight towards the viewer, wings spun across the entire upper part. The horse, its noble spirit transcending its image, gives both distinction to the scarf and instills the element of surprise, so treasured by many.

For me, the horse image inspires freedom and fills my lungs with energy and my spirit with enthusiasm.


This scarf ties wonderfully, and the same colour palette allows the wearer to emphasize his/her best features through it.

La Réale

I have been struggling with this post for several days now, for I wanted to pay tribute to another Hermes design classic yet the feelings that this design triggers are, for me, mixed: the glory of this luxurious and imposing galley, world-famous and recognized for its symbols, is shadowed by the image of the many souls condemned to hard labour working the oars under the deck. The contemporary depiction of that social stratification was beautifully captured in James Cameron's "Titanic", albeit in a less intense if somewhat romanticized manner.

"La Reale" ("the Regal one") was the venerated galley in the service of King Louis IV of France. In the French nomenclature of galleys, a "regular" galley had 26 pairs of oars, with 6 oarsmen per bank. "La Reale" was considered an "extraordinary" galley as it had 32 pairs of oars with the same number of oarsmen per bank (6). The design depicts the stern (back) of the galley, in all its splendour, thanks in part to the impressive size and in part to the opulent decorations, symbolic of the opulence at the court of the "Sun King". Of interest is that the design itself is not depicting the oars.

The galley is illustrated within what appears to be a canopy, depicting the French royal insignia - the "fleurs de lys" ("lily flowers"). The tassels from each of the four corners give the tie a more traditional "feel" when the scarf is knotted. Similarly, the colour combination of this scarf is more traditional - particularly the "royal" blue and the gold accents, although more recent reissues of this scarf inspire a more contemporary "feel" thanks to a limited variation of colour combination (a predominant soft green, for instance, makes the scarf feel younger and contemporary). One such design combination had a burgundy border, a white inner border and a overall burgundy illustration, which again made the scarf very chic without coming across as too traditional or "antiquated".

Collection 1997: Ciels Byzantins

At first I found this design too busy and too traditional, but my thoughts carried me back to it when I listened, the other day, to Nana Mouskouri's "Amazing Grace". The song triggered not only a feeling of spirit uplifted, but also a particular piety and a profound reverence towards the forces above us that guide us through life and which ensure that we will fulfill our destiny (forces that I accept without questioning - first, because my mind is too limited either to understand or visualize what they are; and also because this is the very definition of a believer - one who believes, therefore who has no need to question - and I consider myself a believer).

"Ciels byzantins" ("Byzantine Skies", Julia Abadie, 1997) is an homage to the tremendous influence the Byzantine arts and sciences have had on other cultures and to the development of modern societies.

The Byzantine (or Eastern Roman) Empire was the Roman Empire during the Middle Ages. As the distinction between the Roman Empire and the Byzantine Empire is purely a modern convention, it is not possible to assign a date for its birth, but conventionally the transfer of the administrative capital in 324AD from Nicomedia (in Anatolia) to Byzantium, on the Bosphorus, by Emperor Constantin is a major reference point (alternatively, the "birth" of the Byzantine Empire is considered with the renaming of Byzantium in 330AD to "Constantinople - and the formal creation of Emperor Constantin's city); the fall of Constantinople to the Ottomans in May 1453AD is associated with the fall of the Byzantine Empire). The Empire remains one of the most powerful and influential empires in Europe - economically, culturally and militarily.

The corner fans, featuring intricate patterns typical of Byzantine interior mosaic decorations, are a direct reference to the apses inside Byzantine churches (the technique of building circular domes was invented by architects of the Byzantine Empire by way of a complex system providing for a smooth transition from a square plan of the church to a circular dome or domes; so these "fans", representing domes, symbolize one of the greatest breakthroughs in Western architecture). I can almost see the images of Christ, of the Virgin and of other Saints painted up there .....

Early Christianity adopted the peacocks as symbols of immortality and illustrated them in paintings and mosaics, so of interest is the depiction, in this scarf design, of the two peacocks by the entrance archway.

Finally, the squares between the arches, as well as all along the border, depict typical intricate patterns illustrating Byzantine interior decorating motifs, completing this design rich in symbols, as is the Byzantine culture.

The aspect less visible in this picture giving the scarf a further element of exquisite beauty is the jacquard silk, with a peacock pattern weaved within the fabric (here's a close-up picture of the same design in a a different colour palette).

The way the song (and Nana's interpretation of it in particular) has such a profound effect on me, of piety, of reflection and of gratitude for all we have and equally don't, so does this scarf instill in me a sense of hidden beauty that not many experiences in our life reveal unless we're open to recognizing and appreciating it.

Collection SS2005: Hola Flamenca !

Today is my birthday, and so it's only appropriate that I feature a scarf that I consider to represent me best.  At first, I picked a dip dye scarf for I thought both it and I are unconventional.  Yet, a very dear friend of mine disagreed, pointing out that its overall spirit does not encapsulate mine.  So I embarked on a search for a scarf that exudes vitality, exuberance, love of life, sophistication, and - naturally - artistry.  What came to mind is the "Hola Flamenca!" design of 2005, by Dimitri Rybaltchenko (a tremendously talented and prolific designer whose unconventional creativity often results in truely magnificent creations), and indeed, now I can say decidedly that THIS is the one !

There's something else fascinating about this scarf: its intense (yet subdued) colours, suggestive of a profound spirit, sensitive, compassionate and very generous. Definitely Costin !

I love how vibrant the design is, and how full of life the entire picture is, and how its name denotes the sensuality of the female artist displaying her grace on Andalusian rhythms. A wonderful design that shows beautifully knotted.

I would equally venture to say that this entire scarf is "bigger than life" - as I would like to be remembered - and I consider it a good reflection of me as well.

My friend has also confessed to wanting, one day, to own a dress like this one, to spread open, twirl and be drawn into its mesmerizing waves.

Collection 1999: Cosmos

Today's posts continues the day's "travel" theme by transporting the viewer to a totally different universe. 


Cosmos is a scarf originally released in 1966. The design, by Philippe Ledoux, was popular enough with the Hermes admirers to command subsequent re-issues, in 1991-1992 and in 1999 (and again in 2003 in 140cm cashmere/silk combination). Each series had many different colours, from the darker, more mature hues of blue, green and burgundy to other more "playful" colours. I picked the yellow colour to display the theme because I find it both different and uplifting. The four corners depict chariots reminiscent of Apollo carrying the Sun across the skies. Albeit traditional, this design is a "classic" of the Hermes collection.


A more recent reinterpretation of this scarf, in 2003 - depicted below - marks Air France's 70 years anniversary.  Note the added text around the centre image ("Air France 1933-2003), the superposed hippocampus (the company's logo, representing a mythical sea horse with two forefeet whose lower body resembles that of a fish and ending in a dolphin tail) as well as a plane underneath it.