Kya deLongchamps takes a wander through the silken, society of the Hermès scarf.
Minuit au Faubourg. Designed by Dimitri Rybaltchenko. €335 (36cm square to 90cm square).
In the 1950s, the classical and equestrian iconography on a Hermès of Paris scarf spoke of an impossibly glamorous life.In winter one was pelted in impeccable couture in Paris, London or New York.
In summer, drinking gem-coloured cocktails with an elite tribe in the
Cote d’Azur — the Hermès rolled, could keep the sun off the
décolletage.
It was a brand you could hang onto, when all around you life was changing.
If the country seat was given up in death duties, the Baron von
Tweeden-Pants dropped you for a starlet or you simply lost your looks — a
Hermès scarf knotted elegantly under a gentrified chin (even in
tatters) said something. You belonged — you were quality and knew what
quality was.
Hunting, shooting, fishing, sparking elbows with royalty — and
confidently staring down the under-classes — it was at one time all
implied in a 36x36-inch square of exquisite silk jacquard.
Today, every Hermès scarf is still handmade and screen printed. It’s a
luxurious, artisan product seamlessly connected with the world of high
fashion and celebrity. It’s not too expensive darling — you simply
cannot afford one!
Exclusivity, privilege — this is what real luxury is really all
about. Since 1880 the headquarters of Hermès has been at 24, rue du
Faubourg Saint-Honoré in Paris.
The Hermès family got their start in 1837 in harness making under Thierry Hermès, an immigrant of French/German descent.
Its superb leather work garnered top commissions including the supply
of saddles, tack and accessories to Napoleon III and the Russian czars.
Hermès is known to have made a golf jacket for Edward, the Prince of
Wales with a specialised zip that wowed the trade.
Under Thierry’s grandsons Adolphe and Émile-Maurice, the company entered the unchartered waters of retail.
By the 1930s that essential connection with aristocracy had imprinted
its name on the collective desires of society, and Hermes had digressed
into watches with movements from Geneva, bags, country clothing, ladies
wear for country pursuits, ties and carrés (scarves).
The very first Hermès scarf appeared in 1937 and featured a group of
ladies playing a parlour game, ‘Jeu des Omnibus et Dames blanches’,
designed in-house by Robert Dumas a member of the Hermès dynasty.
The recognition of the branding was crucial from an early stage — the
Duc carriage drawn by a hackney horse and the wrapping — that flat,
orange box used for the scarves.
The idea for scarves may have come from the equestrian roots of the
company, as the material was, and still is, used for searingly bright
jockey’s silks and was also used for its thermal properties to line
riding jackets of every kind. Silk is not only 100% natural, but for its
light weight, texture, warmth and cachet, is unmatched by any synthetic
fibre.
The scarf adds a perfect dash of personable colour to any outfit, and
has the added practicality of protecting the hair — atrophied in the
mid-century with hours of work and a pint of lacquer.
When Queen Elizabeth was drawn in profile for a postage stamp
released in 1950, she is seen in silhouette wearing a Hermès scarf, and
she always used one as an implied riding helmet — the naughty rebel.
In 1956, the impossibly tasteful movie star Grace Kelly, was
photographed carrying a Hermès Sac à dépêches, rebranded shortly
thereafter, the Kelly Bag.
When Kelly broke her arm the same year, she rigged up a Hermes as a
sling. When Sharon Stone tied up her victims in Basic Instinct, she was
tasteful enough to at least use Hermès scarves.
Hermès scarves are made in France, and the company’s resolve to home
produce and to stick with this expensive, rarefied textile was said to
have endangered its very survival by the 1970s.
The hemming by nuns, and the use of pear blocks may have been
superseded by more modern techniques, but the attention to detail,
including hand-rolled edges and the intricate repetition of pattern,
remains the same.
The silk itself is the best mulberry grown on the Hermès farm in
Brazil, and it takes 250-300 cocoons to make a single 36in square.
Original concepts, from a commission to a renowned artist, are engraved on a plate for the screen printing.
Only 20 designs make it through the rigorous 18-month cycle of
production each year at the company’s plant at Lyon, established by
Robert Dumas-Hermès in the 30s.
The company even has an in-house museum referencing suitable topics
for its annual themes (set since 1987 as an ingenious ploy to spur
collectors on).
Astronomy, antiques, weapons, fireworks, flora and fauna, the recipes
are whimsical, exotic, sometimes surreal and rendered in stunning
colour combinations. Each scarf can demand as many as 45 individual
silk-screens in its production.
Digital printing and the superb skills of craftsmen in the Far East
have led inevitably to wide spread forgery of this high-end product.
There are numerous tip sheets online to educate the new collector in
what to look for, from the lie of the jacquard (Hermès are never simply
100% silk) to the wording of the labels.
Hermes also has an app to show you how to knot your scarf in multiple
ways and its website is a feminine fairyland.
For identification, try
this tenderly maintained online catalogue of the latest collections:
facebook.com/Hermes.Scarf.Guides/photos
www.Hermes.com (La Maison des Carrés). Carrés from €270, Silk Twilly from €135.
http://www.irishexaminer.com/lifestyle/homeandinteriors/hottoshop/vintage-viewhermes-scarves-are-the-epitome-of-understated-elegance-358678.html