Part 1: FW'96 Le Monde d'Hermès: 1996 Was Elite

Sans logos and lots of attitude

I had every intention of saving this one. It arrived in the mail, and I told myself I’d wait for a cozy, rainy afternoon to dive in. But of course, I couldn’t help flipping through just a few pages… and then I was hooked.

This is one of those issues that is just that good. We all know I love current Hermès, but there’s something about the 90s campaigns that hits differently. The styling has this fearless energy, like they weren’t trying to be Hermès, they were just being cool. The models don’t look like “Hermès models,” and somehow it all feels more real, more inspired. Honestly, it reminds me of how people wear scarves now, just with a bit more attitude and even more imagination.

So I’m giving in and sharing my first impressions in real time. And who knows, there might have to be a part two.

We are going straight into the first shoot. A woman unapologetically smoking a cigar, draped in silk. And not just any silk: she’s wearing Concerto, which almost feels like a prequel to La Danse but is actually its sequel, designed two years later by the same artist, Jean-Louis Clerc. The spread is called Silk Expressions, and it makes its statement right away.

And speaking of La Danse, am I reading Hermès’ mind, or are they reading mine? Because right there, on the very next page, is La Danse. I swear I didn’t peek ahead! It is definitely one that has reached near grail status and I’ve sold a few in my store already, so if you’re on the lookout, keep your eyes peeled for more. Here and Here.

And let’s not forget, scarves are for the boys too. Did she make him wear it? Maybe. But is he pulling it off? Absolutely. He’s wearing Les Tuileries by Joachim Metz, a design I’ve actually had in the boutique before here. Inspired by the Tuileries Garden, that beautiful stretch between the Louvre and Place de la Concorde, this scarf captures all the best parts of a classic French garden: the symmetry, the ironwork, and all those ornate little details we love. And although not outwardly masculine, this is why I love scarves. The motifs totally change when they are worn.

And here we have two you don’t see every day. On the left is L’Intrus, which translates to The Intruder. I’m guessing that title goes to the hawk holding court in the center, which you can’t see in the magazine. I love the bird names circling the border and an exciting coincidence: I have two of these that will be in the April 30th restock. On the right is Salzburg, a brand new release this year (not a rerelease!), and I can’t get over how perfectly her hair matches the scarf.

As someone who went to my fair share of steeplechases growing up in Maryland, this stained glass piece at the Faubourg store captures a different type of moment at the races. Yes, everyone goes for the race, but do they? Because let’s not forget about the tents and the guest lists. That is exactly what this piece focuses on.

This is why I love looking through these older issues on Le Monde d’Hermès because as much as I love sharing what I know, I am also learning with you at the same time.

In this stained glass panel from 1894, Jane Avril steals the spotlight, without a horse in sight. This is meant to take place at the Grand Prix and artist, Jean-Louis Forain flips expectations, choosing to highlight not the race itself, but the glamour of its spectators. From Parisian nightlife icons, elegant women, and the dapper Isola brothers. Jane sits above the crowd with her signature red hair, captured in all her café-concert glory. Known for her wild Can-Can performances, but here she appears refined, a duality Forain clearly admired.

Jane Avril (1868-1943), the famed dancer, was one of the leading stars of Parisian cabarets in the late 19th and early 20th centuries. She became a symbol of the bohemian nightlife of Montmartre and was immortalized in many works by artists like Toulouse-Lautrec, who painted her countless times. Her performances at the Moulin Rouge and other venues made her one of the most recognized figures of the Parisian stage.

The piece was likely created for the Café Riche, a legendary group of artists, writers, and impressionists alike. Forain, already a respected painter and caricature artist, used a bold, almost cinematic style influenced by Japanese prints. This is his only known stained glass work, and it reflects his wit, love of modern life, and talent for capturing Paris at its most decadent.

Then I turned the page and landed on this comic strip and something clicked. There’s been a lot of talk lately in the scarf world about Hermès designs feeling more “cartoony.” But the truth is, this playful aesthetic isn’t new. It’s been part of the Hermès universe for quite a while. Maybe not always on the scarves themselves, but definitely in the branding. And while the visuals might come off as light or casual, the sentiment behind them is unmistakably Hermès.

In this comic strip Hermès decided to take jazz on a global tour. They pulled together the Trocadéro Jazz Band, some of the best French jazz musicians, and gave them a simple but very Hermès brief. Connect the past and the present, blend tradition with spontaneity, and pack light (except for the 500 kilos of instruments, naturally).

The project was called Rendezvous Around the World, and it was a musical road trip that tied together Hermès’ 1995 theme “On the Road” with 1996’s “Year of Music.” Months of planning went into mapping the route and plotting out each stop like a perfectly tied scarf, balanced, thoughtful, and full of charm.

They kicked things off in Paris, then moved through Lausanne and Geneva before landing at the Villa Médicis in Rome. That night, they played jazz under vaulted ceilings while marble statues looked on. Afterward, they ate pasta. Lots of pasta. (It was Rome, after all.)

They took the train to Florence the next morning, playing impromptu concerts and answering questions like, “What do you think of rap music?” and “Is that an Austrian piano?”

The real goal? To create a bridge between eras and cultures in Hermès style. And somehow, they did exactly that.

And this next spread, although simple, might be one of the most inspiring. In a world that’s become oversaturated with logos, what really stands out now are the materials, the design, and the styling, and that’s something you simply can’t fake without a true eye for it. This photoshoot captures that perfectly. Sure, there are a few H’s sprinkled in, but it’s the subtler choices that really caught my attention. A few things here are definitely going in my mental inspiration file.

The silhouettes of these two black ensembles are so sleek and perfectly cut. The scarf motif is there, recognizable to those who know, but it feels much more elevated. Same with the sharp tailoring on that blazer. That kind of refinement is something you just can’t replicate.

And this week, we’re wrapping things up with a simple, yet slightly amazing styling idea: layering two cardigans. It feels both classic and forward-thinking all at once. Technically, it’s a vest and a cardigan in bright yellow alpaca wool, but the effect is gorgeous. I only wish I knew who designed these sunglasses. They’re the one element that remains a mystery… for now.

Next week we will continue with part 2!