![]() “A rave in the desert,” announced show notes which were handed out by attendants in suits who also greeted guests with glasses of champagne. Long-sleeve, high-neck day-to-evening dresses in scarf prints minutely pleated, wrapped skirts and matching sweaters and a couple of incredibly chic minimal columns with leather fastenings: All these bespeak an understanding of the private lives of Hermès customers, wherever in the world they may be.PARIS, Oct 1 (Reuters) - Hermes (HRMS.PA) artistic director Nadege Vanhee-Cybulski seized on the vibes of the Burning Man Festival, adding swirls of color and utilitarian touches to a sleek spring and summer collection sent down the runway on Saturday to techno beats. Projecting into next fall, though, will restaurants, parties, and going out really be back in our lives? Vanhee-Cybulski’s concentration on dresses spoke more to the quiet intimacy of socializing that might still be carrying on behind closed doors. In a practical update, a removable envelope came slotted into the closure mechanism of the Birkin bag. ![]() Brown suede was cut into a fringed “poncho-parka,” and a cocooning double-face beige coat spoke to the continuing prospect of winter country walks. The Hermès vocabulary of blanket coats, superfine leather, quilting, and pyramid studs was played through a wardrobe that this time included dark tailored denim and references to technical cycling gear. That paradox of wanting to be protected, and wanting to draw the body in dresses that are second-skin and airy.”Įssentially it comes across as her deftly calibrated luxury design reading of the outdoor-indoor ways of living that have become today’s reality. “I was sitting at my desk, asking, How can I reinvent what I know? And actually, it was very productive.” She began by thinking about how to combine an outgoing Amazonian confidence with sensitivity to the times. She talked about “turning a new page. “It was quite a shock at the beginning, because I always work with so much interaction with others, and I’m barely at home,” she said. “Each of them has her own way of expressing female power,” she said.Īs world spanning as all this brand projection was, it had started with Vanhee-Cybulski working alone. For Vanhee-Cybulski, the point in collaborating with two women choreographers was to place the creative female gaze center stage. It was about resilience.” Pandemic be damned, she’d resolved to give the traditional rite of the Paris Fashion Week runway show its due (since there’s nothing more vital than upholding Hermès tradition), while also reaching out to touch audiences that can’t travel. “The message to the world is that I have this conviction of designing clothes for a confident woman. “It’s urgent now to live again,” she said. In today’s unfolding of events, Vanhee-Cybulski’s ambitious plan to defy physical distance worked seamlessly. Opening with a dance performance choreographed by Madeline Hollander in New York, it cut to the fashion show in Paris with models and Vanhee-Cybulski-who gave a wave in an Hermès-orange face mask-and finally hopscotched to Shanghai for the second dance piece, directed by Gu Jiani in front of a live audience. In a logistical feat of timing on the morrow, she was-without a single sign of nerves-about to launch a rolling livestreamed series of Hermès happenings on three continents. “It was important to keep this experience live-to have the specific adrenaline of a show,” Nadège Vanhee-Cybulski was saying last night as the final fittings for the Hermès collection were being finished in Paris.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |