
Hermès: Summer in the city
"Hot town, summer in the city," were the lyrics to B.B. King's greatest classic, and the leitmotif of an insouciantly chic Hermès collection staged on a steamy Saturday in Paris.
See catwalk
Presented inside the Conseil de Surveillance, a temple to French 1930s Rationalist architecture, a beautiful building sadly devoid of air conditioning. So much so, the cast looked the coolest people – literally and figuratively – at this show.
An airy collection, where trousers were made of leather lattice material, and cardigans in knitted leather. Half the shirts had openings, inserts or little fabric windows, 'latticed with light and air,' in the words of Hermès designer, Véronique Nichanian.
Lightness in leisure, with striking new proportions - wide pants and short jackets – and a huge sense of ease.
'It's about a guy being cool in the city, and the sense of the wind blowing through it,' added Nichanian.
She opened with surgical smocks or Henleys – in second-skin calfskin, all worn with a new fringed foulard. Not a tie anywhere. Then played around with multifunctional garments – chemise jackets or safari/parkas. When she did work with exotic skins, she used them in hunters gilets.
Her leather sandals full of slits; her flip flops were trimmed with rope. Over a dozen guys carried huge, big bags, totes, weekenders or sailor keep-alls.
See catwalk
'I love a great big bag, since I am a tiny one,' laughed the diminutive, but always dynamic designer.
Big deep bags made in canvas and leather, or finished in prints of show jumpers or a dancing monkey, 'just for fun, as we need a little more these days.'
After last season, when she stunned Hermès veterans with a squadron of shorts, Nichanian this time abandoned them completely, just when every second menswear collection had multiple short pants options.
She made it her much admired understated palette of putty, string, vanilla, dust and coffee, and produced in the finest fabrics available, there is no better statement of easy elegance in menswear today than Hermès.
The opening lines of King's classic tune rhymes: 'Hot town, summer in the city. Back of my neck getting' dirty and gritty.'
Nothing could be further from that chez Hermès, thanks to these excellent clothes.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Fashion Network
39 minutes ago
- Fashion Network
Craig Green: From Abbey Road to Arts et Métiers
The most fertile imagination in menswear, that would be Craig Green for the uninitiated, staged his latest show in Paris on Sunday, and it was, in a word, sensational. Riffing through materials, epochs, cultural references and diverse artistic moods to create the most original menswear of the European runway season that began in Florence at Pitti 12 days ago and ended in the French capital today. 'I started off with the Beatles, which in Britain are seen as part of the furniture. But this was about how prolific they were. I liked the idea of the potential of youth,' explained Green in his critic-packed backstage. His opening look echoed the cover of the Beatles album "Help!", where the Fab Four pose like cool French members of the Maquis, with Hamburg ship captain caps. Though Craig's hero's cape coat was cut diaphanously with shards, tails and triangles of fabrics. Like many cast members, the model had a handkerchief dangling from his mouth. A reference, the designer explained, to an ectoplasm of fabric, referencing both the mind-expanding drugs which so influenced the Beatles music and a canine image, since it 'was quite dog-like in a weird way.' Which led into Green's bang on nouvelle coats, taken from the patterns of coats for dogs. And hinting at clerical collars, which Craig marvelled, 'are weird hard white plastic that you cannot stain, which I didn't know.' Dog coats that became sleeveless padded parkas, one in the same mustard yellow as the sand on the runway in this show staged inside the Musée des Arts et Métiers, a museum of science and industrial artefacts. An ideal home for a Craig Green show. 'I was also obsessed by harvest yellow, the color of that era, late '60s, early '70s, and loved the idea that babies cried more and people have more arguments in a yellow room,' he laughed. A show that included super original tunic jackets and safaris with all sorts of cross straps, grommets and tags - made in blends of solid hues and micro floral prints. Think super chic strait jackets. Worn with asymmetric shorts or some fantasy trousers in panels of bleached out windowpane checks. In a runway season of shorts, and at a moment when half the men in the current giant tourism boom Europe is witnessing are wearing shorts, Green made by far the coolest: scrunched up dhotis; silk cargo shorts; upside down blazer shorts. After seeing those looks, one understood another inspiration, which Craig described as people 'trying to play LPs backwards to find messages. Which is very different to now.' Many looks worn by models with tiny robotic shades with punchy lights, made from the lights of doll's house. Riffing 'on the Beatles and the psychedelic era and the idea of mind-opening drugs. Like LSD, as they were kind of allowed to, which again now seems kinda alien.' At his finale Green went for floral fantasy, as he admitted that getting older, you 'like to garden more, and cling to the earth. Which the young never do.' A brilliant final quartet of panels of fabric florals, posh paisleys, daffy roses or orange phantasies – in finely draped parkas and dusters. In a mixed recycling moment, these came from vintage bed sheets, his team found 'that were quite smelly and weird. It's interesting how people all feel comfortable sharing sheets, but not underwear." Green now does shows just once a year. Last year in London, two years ago in Paris. 'I think once a year is less anti-social for my team, it's the most they can bear,' explained the thoughtful Craig. Most models this Sunday walked on fab' new triple welt brogues-meets-grand slam golfer collage layering shoes, the designer's latest linkup with shoemaker, Grenson. But at the finale, four models were barefoot. Abbey Road cover style in the Marais. Or zen masters on LSD from Merseyside, forever on the road. And, with the greatest respect to all Craig Green's colleagues, the climax to the most important menswear collection this season. Optima Temporis, as my Jesuit Latin teacher used to say.


Euronews
12 hours ago
- Euronews
Write, seal, and wait: A letter café arrives in Paris
ADVERTISEMENT I have written, in a rough estimate, several hundred letters in my life. Between elderly relatives predisposed to using pen and paper, and far-flung pen-pal paramours, the decade of my twenties was largely taken up with a firm dedication to hard-copy correspondence. The romanticism and endurance of those letters are palpable; no email, text message, or even phone call has the emotional legs of a handwritten note, however short or trivial it may seem at the time of sending. There is a spirit inherent in the work itself, arriving in its sealed package, able to be studied again and again, each reading offering the possibility of new interpretation and deeper meaning. John Donne, writing to diplomat Sir Henry Wotton, declared that 'more than kisses, letters mingle souls.' And like a kiss, a letter carries an element of risk. Will it arrive safely? Will my old-fashioned intentions be taken on faith? Will my words find purchase in a week, a month, a year? There is a fatalism in dropping that paper into the mail slot, to be passed through dozens of hands before reaching its destination. In a moment of historically speedy communication, letter-writing bears the watermark of thoughtfulness, permanence, and trust that the gears of civic society will place value on our sealed words. The world's second letter café, and the first in Europe This is the idea behind Café Pli, a 'letter café', located at 38 rue du Faubourg du Temple, in Paris's 11th arrondissement. Founded by Geneviève Landsmann in July 2024, it is the first of its kind in Europe, inspired by Nuldam Space, a similar concept café in Seoul, South Korea. Guests are invited to choose from an assortment of stationery — envelopes, postcards, stickers, pens and pencils, sealing wax — and write a letter to themselves or another, to be posted on some future date. Sealed envelopes are then slotted into a wall with a niche for every day of the year; simply select the day you wish your letter to be sent, and the attendants of Café Pli will do the rest. To hold the letter for up to a year, the charge is €15, which includes a drink and all the aforementioned writing paraphernalia. If you wish the letter to be held for five years, the price rises to €25. For €45, the letter will be delayed by twenty years. In the event the café goes out of business, they promise all letters will be kept and duly sent by a responsible person. Changes of address can also be requested online, for an extra €10. A €4 surcharge is added for international postage, which covers all countries outside of France, regardless of the continent. Even with all that is included, €15 is a little dear for sending a letter within France. ). A normal first-class French domestic stamp can be had for €2.99 at La Poste. Sending a postcard overseas can be done for as little as €2. Naturally, the trick is in the delay: Café Pli doesn't trade in mail, but in delayed gratification. Write today, mail tomorrow On a recent cool spring afternoon, I visited the 11th arrondissement, also known as Popincourt. The pétanque terrains of the Jules Ferry Square sounded with cheers and the knock of boules colliding, and music and chatter drifted out from the brasseries along the Canal Saint-Martin. Under a cobalt awning, Café Pli was doing fair business. The round bistro tables inside the small, twee and twill interior were taken up by customers, bent over an array of paper, scribbling away on postcards and notepaper, sipping at cups of tea or coffee. The post boxes along one wall were stuffed with hundreds of brown paper envelopes bedecked with stickers and scrawled with addresses: France, Canada, Brazil, South Africa, Germany, Turkey. The café is also an art hub, regularly hosting workshops on creative writing and calligraphy, linocutting, and watercolour painting. I purchased an international package, selected the least ignominious from the variety of inspiration-type cards ('I Love You,' 'Be Proud of Your Progress,' 'You Are Amazing,' 'You're Doing Great'), and sat down to write. But what does one write to one's future self? Hopes of what is to come? The current reality? As Lewis Carroll remarks in his 1890 pamphlet, Eight or Nine Wise Words About Letter-Writing, 'Your friend is much more likely to enjoy your wit, after his own anxiety for information has been satisfied.' As the friend in this case was me, the assurance of wit was dubious; I dashed off my feelings and wished myself well. Paris today, Istanbul in a week, and who knew where in the year to go before I would see this card again. I sealed the envelope with a daub of blue wax and stuck it amongst a dozen others waiting to be mailed in May 2026. All of us trusting our words of hope and wit to the process of Café Pli. Another letter in the hundreds of my life, but this time, and for the first time, it would find me again.


Local France
13 hours ago
- Local France
'Cezanne at home': show retraces artist's roots in southern France
Paintings by Cezanne, created in his hometown of Aix-en-Provence and at his family estate, went on display Saturday at the Granet Museum in the city for the over three-month exhibition, which is expected to draw hundreds of thousands of visitors. The theme of the exhibit is "Cezanne at home," said the city's mayor Sophie Joissains. The vivid southern French countryside provided most of the inspiration for Cezanne's works, composed mainly of still lifes and landscapes. But the artist, known as one of the fathers of modern art, was hated by critics and shunned by his native city during his life and even years after his death. "As long as I live, no Cezanne will enter the museum," then-conservator of the Granet Museum Henri Pontier promised after Cezanne died in 1906. For decades, "a modest copy of a classic male nude, made during his studies, was the only work of Cezanne's in the museum of his city," said Bruno Ely, current director of the museum and the exhibit's curator. The century-long rift between Cezanne and his native city came to an end in 2006 when the Granet Museum held its first exhibition of the artist's work. The city has since declared 2025 "Cezanne's Year," organising a series of events celebrating his work and leaving any historical estrangement firmly in the past. The "Cezanne au Jas de Bouffan" (Cezane at the Jas de Bouffan) exhibit displays 135 paintings, drawings and etchings, originating from museums and collectors from over a dozen different countries. The evolution of Cezanne's painting style will be on display, from his earlier darker works featuring thick paint spread with a palette knife to impressionism to a pre-cubist style. Advertisement Though the Provence region where Cezanne roamed was "tiny," it was "enough for him to reinvent painting", said Ely. The exhibition comes alongside major restoration efforts at the three-storey Jas de Bouffan manor home, where the Cezanne family lived in the late 19th century. Young Cezanne adorned the estate's living room with colourful frescos, perhaps with the intention of impressing his banker father, who had wanted his son to be a lawyer or a financer. The exhibition runs to October 12.