Loïc Dubigeon and his Hermes LES FOLIES DU CIEL

Les Folies du Ciel Hermes silk scarf by Loïc Dubigeon in 1984

I simply love this playful design by the masterful Loïc Dubigeon. Designed and first introduced in 1984, it quickly became a favorite like so many of the French artist’s other scarf creations. With over 20 scarf designs to his name, Dubigeon is responsible for some of the most recognizable designs we now immediately associate with the Parisian Fashion.

Among his designs are such old favorites like the Voyages en Russie from 1984, Voltaire (Sanssoucy) (1994), L’Entente Cordiale (1994), Sextants (1981), Salzburg (1996), La Ronde des Heures (2000), New Orleans Creole Jazz (1996) and of course Hello Dolly (1990). But then I mustn’t forget possibly his most famous, Fantaisies Indiennes from 1987.

Back to his Les Folies du Ciel carre. I don’t know about you, but for me hot air balloons have captured my imagination since I first read Jules Verne’s Around the World in Eighty Days. (also the inspiration for a famous and quite rare Hermes carre)

Unhindered by my rudimentary reading skills and the nagging “need” to play outside, I somehow floated across Monsieur Verne’s pages and before I knew, I had turned the last page.

So it is the case with the Les Folies de Ciel Hermes scarf. As my eyes frantically dart from one fantastical air ship to the next, disappointed, I quickly find myself having covered the entire 1,296‬ square inches of Dubigeon’s Madness in the Sky.

On January 19, 1784, a huge Montgolfiere hot air balloon carried seven passengers to a height of 3,000 feet over the city of Lyons – according to sources, the actual balloon did not look quite like the one depicted in Dubigeon’s carre
The Paz Universal is an imaginary design of an airship in shape of a dove, Spain, circa 1880

Whether imagined or real, the airships in the Les Folies du Ciel Hermes scarf create a timeless accessory that is both sophisticated and playful.

Just as the night sky changes from navy to black so does the background transition from navy to black. The border on the other hand does exactly the opposite, going from navy to black.

And with that the the artist forever blurs the lines between reality and imagination.


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