Why not? “At least if it all becomes a theme park, we can ride trams between shows,” Josh Peskowitz, the men’s fashion director of Moda Operandi, a luxury e-commerce platform, said at a show Sunday morning on the outskirts of Paris. “And not worry about this horrible traffic.”
On Found Poetry
If fashion shows sometimes fail to cohere, they almost always produce some moment of unexpected delight. Take Hermès. For a second time a characteristically subtle and refined Hermès show was held in the courtyard of the Mobilier National, France’s national furniture warehouse.
In January, the presentation was indoors, but this time the 18th-century bergères, stiff Regency side chairs, plastic office seating from the 1960s had been moved into a courtyard, a ragtag assembly of furniture arrayed like guests at an unlikely cocktail party.
The variety of the chairs served as a reminder of what Vogue.com called “the scale and depth of human design ingenuity,” and the unsung genius of great craftsmanship applied to objects of simple function. Similarly, they underscored something applicable to the Hermès designer Véronique Nichanian, who consistently turns out some of the handsomest utilitarian clothing no ordinary mortal can possibly afford.
But never mind that. What stayed with this observer was not the easy reversible Windbreakers Ms. Nichanian designed for junior oligarchs to wear aboard their Embraer Phenom 100s, but a scrap of found poetry discovered in the show notes. The colors of Hermès spring 2020, it explained, are as follows:
“Khaki, Mint, Celadon, Lagoon, Plum, Tobacco, Rust, Corn, Desert, Sand, Silex, Hemp, Foam, White, Bubblegum Pink.”