Hermès A/W fall/winter 2021 RTW and accessories
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Yes! I liked the dancers and the music. I spotted a few pieces that I would like to inquire about with my SA. There was a cropped jacket with Kelly turncocks on the cuffs. I saw 2 new bags. A flat Birkin flap style envelope clutch and a crossbody messenger bag with what looked like a lipstick holder on the side.
Lots of interesting pieces. Shame that the camera man spent a lot of time zooming in on the models’ faces as opposed to the clothing and accessories. I can’t tell if the Birkin tote bag was just a Birkin or a new style that is basically a Birkin with the flap cut off (this is in addition to the flat Birkin flap clutch). Also thought it was interesting that some of the models wore the Hermes Apple Watch.
This looks like a flap-less-Birkin carrying a flat-case-birkin flap clutch in it...
The two bags individually...
This looks like a flap-less-Birkin carrying a flat-case-birkin flap clutch in it...
The two bags individually...
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I thought the same thing about the camera focusing on their faces. I wanted to see more of the clothing and accessories as well.
There was a black bomber jacket with silk paneling which was beautiful, and also a cream colored blazer that was stunning as well. The crossbody bag looked almost like a phone holder with a lipstick holder (maybe a sanitizer holder?) on the side. I love the concept but think that any bag which is designed around a phone's shape has about 2 years of longevity.
I love the giant orange boxes as decoration. So cute!
Also the flapless birkin looks lovely, I wish we had more shots of it
Also the flapless birkin looks lovely, I wish we had more shots of it
Credit: RED users with ID in watermarks
The new 3 in 1 Birkin
The new 3 in 1 Birkin
Vogue has the outfit photos up now 
www.vogue.com
Hermès Fall 2021 Ready-to-Wear Collection
Hermès Fall 2021 Ready-to-Wear collection, runway looks, beauty, models, and reviews.
So it's an open-style Birkin with a removable insert. Interesting...... so if you just want to carry the bag, you don't need to tuck the front flap in. Hmm.
Behind the scenes of today's show...
ETA: The following article is taken from Vogue
The collection was rooted in a genuine wardrobe
“They’re more than real clothes,” Nadège Vanhee-Cybulski said of her collection. “They’re genuine clothes.” On a handheld FaceTime call, the Hermès designer wasn’t just mastering the art of the digital collection preview, but reflecting her own point. For all the virtual reality of this strange moment in time, there’s something so genuine about an artistic director – a position so exalted in fashion – guiding you through her collection on her own iPhone, panning the camera as a model walks, closing in on a detail, or filming inside a bag. Vanhee-Cybulski’s handheld endeavours captured – on a broader scale – the message she wanted to convey with this collection: accentuating an authentic and essential wardrobe.
It was presented as a cross-continental triptych
Planning her show, Vanhee-Cybulski asked herself: “How can we be creative in these times? How can we keep a bond, and have solidarity?” She conceived a global format to express the movement so key to a season that will follow a year of confinement. Broadcast live, the presentation kicked off with a dance performance in New York, where choreographer Madeline Hollander interpreted the way New Yorkers walk, and how these movements interact with their wardrobes. After the show itself, staged in the Garde Républicaine in Paris, choreographer Gu Jiani closed the triptych with a live performance from Shanghai, conveying through dance the conviction Vanhee-Cybulski wanted her collection to reflect.
Nadège Vanhee-Cybulski called it a reset
“After a reset, you start with a white page and some black ink, and you begin to write your story,” Vanhee-Cybulski said. Timed for autumn, when we’ll hopefully be stepping back into the real world, her collection was founded in the idea of the wardrobe reset: stripping down our relationship with fashion to its basic needs, and rebuilding it from there. In that process – for, after all, this was fashion – she took comfortable and durable components from the classic wardrobe such as denim, leather and knitwear, and slowly started to elevate them through fabrics and surface decoration.
The collection proposed new classics
“I love clothes. And because I’m interested in the construction of clothes, I’m interested in creating new classics,” Vanhee-Cybulski said, demonstrating a parka morphed into a poncho – a favourite around the runways this season. The eternal symbol of comfort and security, she spliced blankets with jackets and rendered some in leather. Her knitwear took on sculptural shapes through embellishment, painting a strong and assured silhouette also reflected in the sturdiness of her architectural denim constructions. The sparkly dresses at the end of the show? Plissé painstakingly covered in glistening net embroidery. Vanhee-Cybulski herself emerged wearing a disposable orange mask that look very Hermès – begging to be put into production.
It reinvented classic Hermès accessories
Employing her reconstructive approach, Vanhee-Cybulski deconstructed the Birkin bag into a twofer. Normally a part of the bag’s construction, she turned the inside lining into a pochette which could be worn on its own – as a large clutch – or styled inside the bag as an enhancing design feature. Setting her sights on the Carré scarf, she shrunk it to the size of a coaster. “It’s so cute. You can wear it around your wrist, do a little bow on your denim, attach it in your hair,” she noted. And, as a nod to the lipstick Hermès launched last year, Vanhee-Cybulski designed a leather holder which popped out your lipstick at the pull of a string.
ETA: The following article is taken from Vogue
The collection was rooted in a genuine wardrobe
“They’re more than real clothes,” Nadège Vanhee-Cybulski said of her collection. “They’re genuine clothes.” On a handheld FaceTime call, the Hermès designer wasn’t just mastering the art of the digital collection preview, but reflecting her own point. For all the virtual reality of this strange moment in time, there’s something so genuine about an artistic director – a position so exalted in fashion – guiding you through her collection on her own iPhone, panning the camera as a model walks, closing in on a detail, or filming inside a bag. Vanhee-Cybulski’s handheld endeavours captured – on a broader scale – the message she wanted to convey with this collection: accentuating an authentic and essential wardrobe.
It was presented as a cross-continental triptych
Planning her show, Vanhee-Cybulski asked herself: “How can we be creative in these times? How can we keep a bond, and have solidarity?” She conceived a global format to express the movement so key to a season that will follow a year of confinement. Broadcast live, the presentation kicked off with a dance performance in New York, where choreographer Madeline Hollander interpreted the way New Yorkers walk, and how these movements interact with their wardrobes. After the show itself, staged in the Garde Républicaine in Paris, choreographer Gu Jiani closed the triptych with a live performance from Shanghai, conveying through dance the conviction Vanhee-Cybulski wanted her collection to reflect.
Nadège Vanhee-Cybulski called it a reset
“After a reset, you start with a white page and some black ink, and you begin to write your story,” Vanhee-Cybulski said. Timed for autumn, when we’ll hopefully be stepping back into the real world, her collection was founded in the idea of the wardrobe reset: stripping down our relationship with fashion to its basic needs, and rebuilding it from there. In that process – for, after all, this was fashion – she took comfortable and durable components from the classic wardrobe such as denim, leather and knitwear, and slowly started to elevate them through fabrics and surface decoration.
The collection proposed new classics
“I love clothes. And because I’m interested in the construction of clothes, I’m interested in creating new classics,” Vanhee-Cybulski said, demonstrating a parka morphed into a poncho – a favourite around the runways this season. The eternal symbol of comfort and security, she spliced blankets with jackets and rendered some in leather. Her knitwear took on sculptural shapes through embellishment, painting a strong and assured silhouette also reflected in the sturdiness of her architectural denim constructions. The sparkly dresses at the end of the show? Plissé painstakingly covered in glistening net embroidery. Vanhee-Cybulski herself emerged wearing a disposable orange mask that look very Hermès – begging to be put into production.
It reinvented classic Hermès accessories
Employing her reconstructive approach, Vanhee-Cybulski deconstructed the Birkin bag into a twofer. Normally a part of the bag’s construction, she turned the inside lining into a pochette which could be worn on its own – as a large clutch – or styled inside the bag as an enhancing design feature. Setting her sights on the Carré scarf, she shrunk it to the size of a coaster. “It’s so cute. You can wear it around your wrist, do a little bow on your denim, attach it in your hair,” she noted. And, as a nod to the lipstick Hermès launched last year, Vanhee-Cybulski designed a leather holder which popped out your lipstick at the pull of a string.
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Love this skirt!When I saw this skirt during the show, I started jotting down a description because I couldn't get screen capture to work. Love this....thanks for sharing the Vogue link.