Hermès, 2011

For its Fall/Winter 2011 women’s wear collection Hermès turned its focus on archery and falconry, the most noble and aristocratic of European sports and simultaneously just as integral to the life and lore of the  Eurasian Steppe. And should your imagination take you there, it summons the scene of a Mongol warlord, circa 1220, decked in his furs and leather, charging ahead on his conquest, riding on an orange saddle. In another life; an elegant comtesse, circa 1930, traveling on the Trans-Siberian railway, making her way through Irkutsk, on to Ulan Bator, before her final stop in Beijing—oh the splendors she should discover and bring back. It’s a fantasy, really, but one the house’s new women’s wear director Christophe Lemaire has so intricately illustrated. Lemaire has made it a part of his method to scan, synthesize, and, when appropriate, surrender to the bounty the world has to offer. And at Hermès he has found a home for which his travels can persist with no boundaries. Is there really that much of a contradiction within his proposition? In this truly global world, in one with no acknowledgment of its past strife, with no consideration of its future tolls, Lemaire’s Hermès proposes that there isn’t.


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