Collection SS2011: La Ronde de Jockeys

A lovely design originally released under the "Ascot 1831" name in 1969 before being reissued once before (AW2004) under its current "Jockeys Round" name. It illustrates twelve mounted jockeys transposed in such a way as to fit within a circle.

I was drawn to this design by the very bright and vibrant colours that infuse a very young spirit into this traditional pattern (take, for instance, the knotted scarf below, whose baby blue and orange - one of my favourite combinations - give a young vibe despite the traditional pattern featured in each of the four corners).

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 SS2007: Etriers

This post continues the tradition of depicting scarves that pay tribute to distinguished craftsmanship, artistic sensibilities and vision. More, the colour combination of this particular scarf is also a discreet yet impactful homage to the House of Hermes (with its distinct and emblematic orange as the predominant colour of this scarf).

Emile-Maurice Hermes (18 December 1871 - 11 September 1951), the grandson of a founder of saddle and harness manufacture in the Grands Boulevards district in 1937, is said to have acquired an unusual switch attached to an umbrella from an antique dealer at the tender age of 12. This is how the legend of the collector "par excellence" was born. Throughout his rich life, Emile built an impressive archive of items which he categorized into various collections, including a true "Museum" of equine transport, from which this design drew its inspiration.

First launched in 1964, this scarf has been met with enthusiasm by Hermes' loyal customers and admirers alike, and has been reissued in 1990, 1997, 1999 and again in 2009 (the picture is part of the latest reissue). The scarf depicts various stirrups that, as with many other creations, have evolved over time from strictly utilitarian objects to articles of art and tremendous craftsmanship, intended to garnish the feet of male and female gentry riders, around the world. A side-step saddle stirrup from South America (19th century) is depicted alongside a silver-finished wooden stirrups from Peru (18th century), a pair made of brass from the Middle East and a copper pair from France and Spain (end of the 18th century). Their variety, inventive beauty of detail and ingenuity are a testament to the craftsmen who continue to place their know-how and talents to the service of the noble equestrian art.

May we all find inspiration in the experiences we create and people and things we come across, find the courage to turn that inspiration into wonderful outcomes, and continue to inspire those around us.