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...

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.

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 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.