Scarves What Makes a Scarf Collectible?

[Etriers]

As you look back over Hermes scarf producing years, and your own collecting years: What qualities do you believe give a scarf staying-power and make it collectible over time? Is it the intricacy of the design, the story it tells, the fame or reputation of the designer? Is it more a lucky harmony of colors or a particular time or historical event? Can a scarf have seasonal pop or charisma but not have the chops to be a long-term legend? Are there scarves you passed on that you turned out to be right or wrong about? I’d love to hear some of the insights (examples?) you’ve gleaned over the years and things you’ve learned in the search for the grail.

 

[callais]

For me, the marble scarfs are definite collectibles; the unique know-how behind them being the primary reason – I especially loved how H came out with a full YouTube video showcasing the process and the artists behind the gorgeous technique

 

[papertiger]

People collect for different reasons.

A) Collect to wear
B) Collect to display
C) Collection and trade only.

I'm like most TPFers and fall under A and buy/collect to wear. Like others that have been buying for a while, I also have a small stash of just to keep or wear rarely.

My HGs have all been of personal in terms of design, wearable for my colouring and features. I don't really suffer from FOMO and hate it when what I really want is what others want too.

 

[jellyv]

I never like to think of it as collecting, period. To me they're with me because of individual greatness by the standards I'm feeling at the time. Must satisfy (1) color palette that flatters me, (2) on the modern vs traditional side of design, (3) stellar representation of the artist's work, and (4) an association with a geographic region, culture, or material objects I'm interested in.

 

[bunnycat]

An intriguing question, and once I have pondered a lot over the past 4 or 5 years.

I do find myself looking at current designs and going "this one will last" or "this one will be popular for awhile (but not forever)".

It's not just about the designer, as there are plenty of examples of designs from scarf designers who tend to be "grail makers" (like Aline Honore) that fell kind of flat.

To pick apart one example, take Parures des Samourais which is a rich and varied design, with lots of interest and depth , plus the easily accessible historical aspect and then combined with what ended up being very sought after color combinations, plus something that was easy to tie in almost any set up. It had all the things that (to me) give a scarf "staying power". And then contrast this with something like Art du Sarasa, which, while pretty, just didn't have the same depth of design. The wide border made folds and ties a little difficult (and turned off those of us who don't like borders on scarves). So that one for me at least, was "nice for awhile" but probably not forever.


So in a nutshell, I think that more or less covers what @jellyv was saying above.

This may not cover all contenders, but I think at least subconsciously, these are things a lot of people consider with scarves.

 

[callais]

I never like to think of it as collecting, period. To me they're with me because of individual greatness by the standards I'm feeling at the time. Must satisfy (1) color palette that flatters me, (2) on the modern vs traditional side of design, (3) stellar representation of the artist's work, and (4) an association with a geographic region, culture, or material objects I'm interested in.

Agreed! I have similar “criteria” when deciding on a scarf; though I do think of the ones I own as a somewhat cohesive “collection”, or maybe “closet”. Although I may be in the minority in that I strictly prefer cashmere/silk scarves, especially 140cm ones. As for designs, I gravitate towards neutrals, muted colours and pastels, and designs emblematic of either the house and like you, cultures I’m interested in/have an affinity to.

 

[laurenad]

Great question! It is fun for me as a relatively new scarfie to consider which scarves will be favorites in the years to come. Sometimes it seems to be as particular as colorway, and sometimes it seems as though the overall design is popular. While I enjoy playing this mental game, none of the scarves I’ve bought have been because I think they will be holy grails to an audience bigger than myself. For me it comes down to a mix of color and design, and that intangible quality that makes me fall in love with a scarf. To date, I’ve parted with 4 scarves that perhaps I bought hastily and out of FOMO and decided to frame 1, but otherwise I can say that my entire collection right now is full of scarves I’ll keep forever.

 

[ArielS]

I might be completely different from most, I like to collect more modern designs that are fun and fresh with animals involve like lazy leopardess, collier de chien (with the dogs at the border), l'esprit de la foret. I found these are playful and more wearable and yet collectible.

 

[Etriers]

The insight and wisdom here is staggering. Too many great thoughts so far to quote so I’ll just respond in general…

I‘ve been buying H scarves for years but not with any particular finesse. (Other than, if it had a horse on it, it was a contender! ) Lately, I’ve found myself going down the rabbit hole a bit looking at very old H scarf designs and marveling at how some are still so highly sought after. The one that actually sparked this post was a query about the 1977 scarf L’Indomptable by Pierre Peron. I noticed several things about it: Beautiful colorways, a clever fringe border that makes the scarf look like a naval standard combined with striking graphics, the emotional appeal of the name, meaning invincible, as well as the historical references. I’m not familiar with the designer.

So I got to thinking back over scarves from the past few years, which ones are likely to be big-time legends down the road and why. @bunnycat brings up an excellent point about Parures des Samourais, and although I didn’t buy it, I do agree that I’ll probably be sorry. Another aspect that just occurred to me reading all of your posts is, I wonder if the Hermes scarves that “fall flat” for you lack a certain fundamental Hermes-ness that makes them different from anyone else’s scarves?

 

[bunnycat]

The insight and wisdom here is staggering. Too many great thoughts so far to quote so I’ll just respond in general…

I‘ve been buying H scarves for years but not with any particular finesse. (Other than, if it had a horse on it, it was a contender! ) Lately, I’ve found myself going down the rabbit hole a bit looking at very old H scarf designs and marveling at how some are still so highly sought after. The one that actually sparked this post was a query about the 1977 scarf L’Indomptable by Pierre Peron. I noticed several things about it: Beautiful colorways, a clever fringe border that makes the scarf look like a naval standard combined with striking graphics, the emotional appeal of the name, meaning invincible, as well as the historical references. I’m not familiar with the designer.

So I got to thinking back over scarves from the past few years, which ones are likely to be big-time legends down the road and why. @bunnycat brings up an excellent point about Parures des Samourais, and although I didn’t buy it, I do agree that I’ll probably be sorry. Another aspect that just occurred to me reading all of your posts is, I wonder if the Hermes scarves that “fall flat” for you lack a certain fundamental Hermes-ness that makes them different from anyone else’s scarves?

I try to delineate between what *I* collect versus what I consider *overall* collectable in these types of questions, even though the basic premise probably holds for my personal grails and tastes and versus what many may consider "grails". (Tie-ability, subject matter that I identify strongly with, excellent example of the artist's work, etc...)

Here's a secret- even now, after 8 years of collecting, I still have no "ELenK", even though I DO understand the continuing appeal. The colors are fantastic; the appeal of the kimono pattern subject matter morphed from the ExL is perfect; the deep detailing of the design and the amazing tie-ability of it continue to draw people to it. The formats chosen for it showcased it perfectly. It's got all the "right stuff". (But it's not on my "gotta have it" list even now...and I have no idea why....)

Sometimes, I think the issue is format choice that can throw a design from really popular potential, over in to "flop". So that's another variable that H has to "juggle". I'm gonna put Pegase Pop in this category. The 70cm was stellar. The giant 140 silk....not so much. Too large a format for the design, and the colors were overall, not my cup of tea. I could have been talked in to the 140 (for the right price) but none of the colors really "spoke" to me.

 

[maxroxxherhandbags]

I try to delineate between what *I* collect versus what I consider *overall* collectable in these types of questions, even though the basic premise probably holds for my personal grails and tastes and versus what many may consider "grails". (Tie-ability, subject matter that I identify strongly with, excellent example of the artist's work, etc...)

Here's a secret- even now, after 8 years of collecting, I still have no "ELenK", even though I DO understand the continuing appeal. The colors are fantastic; the appeal of the kimono pattern subject matter morphed from the ExL is perfect; the deep detailing of the design and the amazing tie-ability of it continue to draw people to it. The formats chosen for it showcased it perfectly. It's got all the "right stuff". (But it's not on my "gotta have it" list even now...and I have no idea why....)

Sometimes, I think the issue is format choice that can throw a design from really popular potential, over in to "flop". So that's another variable that H has to "juggle". I'm gonna put Pegase Pop in this category. The 70cm was stellar. The giant 140 silk....not so much. Too large a format for the design, and the colors were overall, not my cup of tea. I could have been talked in to the 140 (for the right price) but none of the colors really "spoke" to me.

Agree re: Pegase Pop I have a 70cm that has incredible colours and its one of my favourite scarves.
I also brought the 140 in the H sale, and none of the colour ways in the 140 have the "wow!' factor that that the 70's did.
I'm not a 'collector' but I own about 10 H scarves and they are very different styles.
From the very traditional 'Keys' (cant remember french name) design, and others that scream' traditional Hermes' (if there is such a thing!) to Pegase Pop, Magic Kelly and one thats thats a very enlarged 'newsprint' photo of Josephine Baker.
I probably wear the traditional designs more oddly enough because I find the design doesn't get as submerged in the tying as it does in the more 'modern' designs.
What I suppose makes a scarf 'collectable' is its intricacy of design, and global appeal.
As well as what colour ways it is offered in.

 

[Etriers]

I try to delineate between what *I* collect versus what I consider *overall* collectable in these types of questions, even though the basic premise probably holds for my personal grails and tastes and versus what many may consider "grails". (Tie-ability, subject matter that I identify strongly with, excellent example of the artist's work, etc...)

Here's a secret- even now, after 8 years of collecting, I still have no "ELenK", even though I DO understand the continuing appeal. The colors are fantastic; the appeal of the kimono pattern subject matter morphed from the ExL is perfect; the deep detailing of the design and the amazing tie-ability of it continue to draw people to it. The formats chosen for it showcased it perfectly. It's got all the "right stuff". (But it's not on my "gotta have it" list even now...and I have no idea why....)

Sometimes, I think the issue is format choice that can throw a design from really popular potential, over in to "flop". So that's another variable that H has to "juggle". I'm gonna put Pegase Pop in this category. The 70cm was stellar. The giant 140 silk....not so much. Too large a format for the design, and the colors were overall, not my cup of tea. I could have been talked in to the 140 (for the right price) but none of the colors really "spoke" to me.

Fascinating… And…gosh, of course, that makes perfect sense, format would make all the difference. (Kind of makes you wonder who makes that call at H HQ.)

 

[Etriers]

I probably wear the traditional designs more oddly enough because I find the design doesn't get as submerged in the tying as it does in the more 'modern' designs.
What I suppose makes a scarf 'collectable' is its intricacy of design, and global appeal.
As well as what colour ways it is offered in.

That’s interesting about the design getting submerged. Global appeal is a great point. Intricacy speaks to the drawing I suppose and likely also the number of screens required to produce. Colorways—so true. Sometimes I wonder what in the world they’re thinking.

 

[bunnycat]

Now I'm on the big computer and still can't manage to get my quotes work on this one.

But @maxroxxherhandbags comment exemplifies the Peg Pop issue. The 140 didn't really have any WOW! colorways. So if I had the 70cm and the 140cm and one had to go....welll.....I know which one would get the ax.

Global appeal is definitely one of the variables and yeah....some of the colors they choose, especially recently, combined with the lack availability and very slow roll out which you can SAY has to do with supply chain issues. But it is very clear that is not true as certain places globally got GREAT colorways of something I'd like (or did like) but now have to decide if 1 or 2 seasons down the line I still like it *enough* to buy ....wellllll....not many are making it to my "must have" list anymore.

 

[maxroxxherhandbags]

The only scarf that I missed out on in many years that is on my 'Must get eventually..' list is 'Ce 'est La Fete' .
I have questioned why out of the various designs I've liked but not brought that one in particular has really gotten under my skin.
My answer is...It has many of the classic Hermes symbols that I love but with a gothic almost comic book flavour to the design.
AND it was released in colour ways that I liked (although sadly the khaki /Orange colour way my SA offered me looked dreadful against my skin).
I daresay that highly collectable scarves must contain elements within the designs that appeal to a wide range of people, and ditto the colourways too so that when a collector falls in love with a design and it truly gets under their skin then then want it in ALL the colour ways .