Tomorrow, Hermès will post a teaser video that unstitches more of the specific thinking behind this epic show concept. It suggests that plié and plissé, expressive folds in human and textile respectively, will connect three conjoined but distinct creative articulations of the interaction between the collection and the women’s bodies wearing it. On our Zoom, Vanhee-Cybulski additionally let slip that the famous Hermès orange box—something the house first used by accident rather than design when its suppliers ran out of the then standard cream-colored packaging in 1942—will act as an additional contextual link between Triptych’s three world-spanning chapters.
To throw those cultural nuances into relief, Vanhee-Cybulski has recruited two cocreators from a different discipline: dance. Triptych’s first part will be held at the Armory in New York and feature collection-clad dancers choreographed by the artist Madeline Hollander. The Parisian part two will be held at the Garde Républicaine—site of Vanhee-Cybulski’s first show for the house in 2015—and overseen by the designer herself in a “pure” fashion show format. Immediately afterward, part three, held in Shanghai’s flagship Hermès maison, will return to dance through the choreography of the exciting classical iconoclast Gu Jiani.
Although a show that spans the globe, this will not be one standardized by globalization, she emphasized: “We are showing a spectrum, like the color palette of different cultures.”
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