It might come in black too. How about something from the current A/W collection?
Hermès Spring/Summer 2021 RTW and Accessories
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Not sure about the rolled collar. But I am very tried of all the tan and beige!
On second look, the rolled neckline is actually quite well done on most of the pieces and looks elegant. I think it’s just the sweater top where the roll is too thick that gave me this impression.The rolled neckline detail makes me think of sweaty people in the gym heading to the locker room.
Unless you’re specifically looking for leather of course, believe the black coat in the show is the same design or not? Both seem to have the same leather closure.
Think so too. The leather makes it a bit more special I think, the cashmere? one is more understated/casual.
True, the leather one is more of a statement piece. The black one apparently is double linen, would love to own it.
I love the clogs! I would love to see a side view. Really cool.
I believe the resee is usually the same day, after the runway show.
Not many bags, only 2 simple designs it seems. Waiting for the details pics.
Vogue states the chainmail dresses is made up of horn pieces tied (?) together.
Well our horn pieces are all very light so not as bad. Thing is sitting down might well fracture those pieces. It may be a runway only thing which never goes into production.
From: https://www.vogue.com/fashion-shows/spring-2021-ready-to-wear/hermes
Nadège Vanhee-Cybulski is a hugger. While she took the confinement period in stride—revisiting her old sketchbooks and notes-to-self from her time at the Royal Academy of Antwerp—the Hermès designer missed the human touch. “Well, look at us. Tactility has been taken away from us,” she pointed out during a socially distanced backstage session before her show. “I wanted the fantasy of touching. I think it’s important to keep that, somehow.” Vanhee-Cybulski expressed her ‘skin hunger’—as the media has so seedily dubbed the lockdown phenomenon—in a collection that played with the naked and the seductive from different angles; from the sensual to the strict.
The rigid lines of aprons had the faintest air of fetish, backed up more insistently by fishnet dresses chain-mailed from bricks of horn. (“Horn-y,” quipped a fellow critic in a text post-show.) Coats had built-in scarves that could be rolled up at the front or wrapped tactilely around the neck. Knitted bodies with swimwear-like open backs were informed by the female curves of Hellenic ceramics, a theme echoed in a show constructed like an abstract take on Ancient Greek ruins. On each of the digitalized columns, the work of different artists commissioned by Vanhee-Cybulski interpreted her collection in various art forms, which was also compiled in a ‘scrapbook’ sent to editors around the world, who couldn’t travel for the show.
“It was important to find a new way to communicate a collection. Because no one was able to travel, I just sent the clothes to the artists and they [worked with them] themselves,” she explained. After the pandemic forced her to cancel the London resort show she had planned in April, Vanhee-Cybulski decided to save the collection. “I said, we’re going to freeze what we have and settle a little bit. When we come back we will assess it.” Current affairs considered, it was the right thing to do. Fifty percent of the garments she showed today were part of that original collection, now unified in one strong message with the new pieces she created during and after lockdown. “The pandemic has reinforced our values about a responsible approach and a perennial style,” the designer said. “But of course, I still want to give fashion to the Hermès woman.”
If that was the brief she gave herself, Vanhee-Cybulski nailed it. These were enduringly seductive and viable clothes beyond the level of timelessness that comes with the Hermès territory, and with enough design value and cleverness to entice you runway-side. Sometimes her styling gestures gave you flashes of the collections she created with Martin Margiela at the house in the late 1990s; a legacy you sometimes felt evoked in Phoebe Philo’s work for Céline, too. There is still a demand from so many women for the intelligently seductive, chic, purposeful fashion Philo mastered there. Perhaps it wasn’t a coincidence that Vanhee-Cybulski’s show took place in the Tennis Club de Paris where the former Céline designer historically presented her collections.
Nadège Vanhee-Cybulski is a hugger. While she took the confinement period in stride—revisiting her old sketchbooks and notes-to-self from her time at the Royal Academy of Antwerp—the Hermès designer missed the human touch. “Well, look at us. Tactility has been taken away from us,” she pointed out during a socially distanced backstage session before her show. “I wanted the fantasy of touching. I think it’s important to keep that, somehow.” Vanhee-Cybulski expressed her ‘skin hunger’—as the media has so seedily dubbed the lockdown phenomenon—in a collection that played with the naked and the seductive from different angles; from the sensual to the strict.
The rigid lines of aprons had the faintest air of fetish, backed up more insistently by fishnet dresses chain-mailed from bricks of horn. (“Horn-y,” quipped a fellow critic in a text post-show.) Coats had built-in scarves that could be rolled up at the front or wrapped tactilely around the neck. Knitted bodies with swimwear-like open backs were informed by the female curves of Hellenic ceramics, a theme echoed in a show constructed like an abstract take on Ancient Greek ruins. On each of the digitalized columns, the work of different artists commissioned by Vanhee-Cybulski interpreted her collection in various art forms, which was also compiled in a ‘scrapbook’ sent to editors around the world, who couldn’t travel for the show.
“It was important to find a new way to communicate a collection. Because no one was able to travel, I just sent the clothes to the artists and they [worked with them] themselves,” she explained. After the pandemic forced her to cancel the London resort show she had planned in April, Vanhee-Cybulski decided to save the collection. “I said, we’re going to freeze what we have and settle a little bit. When we come back we will assess it.” Current affairs considered, it was the right thing to do. Fifty percent of the garments she showed today were part of that original collection, now unified in one strong message with the new pieces she created during and after lockdown. “The pandemic has reinforced our values about a responsible approach and a perennial style,” the designer said. “But of course, I still want to give fashion to the Hermès woman.”
If that was the brief she gave herself, Vanhee-Cybulski nailed it. These were enduringly seductive and viable clothes beyond the level of timelessness that comes with the Hermès territory, and with enough design value and cleverness to entice you runway-side. Sometimes her styling gestures gave you flashes of the collections she created with Martin Margiela at the house in the late 1990s; a legacy you sometimes felt evoked in Phoebe Philo’s work for Céline, too. There is still a demand from so many women for the intelligently seductive, chic, purposeful fashion Philo mastered there. Perhaps it wasn’t a coincidence that Vanhee-Cybulski’s show took place in the Tennis Club de Paris where the former Céline designer historically presented her collections.
