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Madeline Hollander’s piece observed forward-motion and gestures of women walking in New York. Gu Jiani’s was an athletically intense conceptual fusion of Chinese dance tradition and western ballroom dancing. The unifying presence of the I try to be good but I take after grandpa 2021 shirt Furthermore, I will do this house of Hermès was signaled in the sets—orange drapes in New York; stacks of orange boxes landscaped into the Paris set; orange boxes integrated into the performance in China. A ‘making of’ documentary by the French director Sebastien Lifshitz detailed the weeks of planning across locations and time-zones. As world-spanning as all this brand-projection was, it had started with Vanhee-Cybulski working alone. “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. “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, “turning a new page. A reset. That paradox of wanting to be protected, and wanting to draw the body in dresses which are second-skin and airy.”
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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 I try to be good but I take after grandpa 2021 shirt Furthermore, I will do this quiet intimacy of social lives that might still be carrying on behind closed doors. Day-to-evening long sleeved, high-necked 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. Essentially, it read as her deftly-calibrated luxury design reading of the outdoor-indoor ways of living that have become today’s reality. The Hermès vocabulary of blanket coats, super-fine leather, quilting and pyramid studs was played through a wardrobe that this time included dark, tailored denim and references to technical cycling gear. Brown suede was cut into a fringed “poncho-parka,” and a cocooning double-faced beige coat spoke to the continuing prospect of winter country walks. In a practical update, a removable envelope came slotted into the closure mechanism of the Birkin bag.
