A Behind-the-Scenes Account of Its Artistic Genesis.
I was recently approached by Tracy Hart, a fellow Hermès scarf enthusiast, who shared an incredible story with me. It provides an unparalleled view into the intricate process involved in pitching a design idea to Hermès Paris and witnessing its transformation into one of Kermit Oliver’s most sought-after designs.
The Hermès Marquis de Lafayette carré is not just another beautiful scarf; it is a testament to a unique cross-cultural collaboration, weaving together art, history, and the enduring friendship between two nations. But this particular Hermès carré holds an even more special distinction: it was issued in a very Limited Edition [Link to a previous post], with an initial run of just 375 scarves sold exclusively through Lafayette College in Easton, Pennsylvania – all of which remarkably sold out in presales. One lucky collector bought ten scarves, and in two weeks all were gone! Its original red border, a color personally chosen by Oliver, marks it also as a Special Issue [Link to a previous post], and thus making it a true GRAIL carré [Link to a previous post] among collectors and aficionados worldwide.
But how did such an extraordinary, and now highly coveted, piece come into existence? The answer lies in the very personal story Tracy shared with me and one we shall now share with you.
The Birth of an Idea.
Tracy A. Hart, a Lafayette College graduate, was the driving force behind a unique Hermès scarf project. While living in Paris in the early 1990s, Ms. Hart, a member of the American Women’s Group of Paris, met Bertrand de Courcy, the then-manager of the Hermès Paris boutique, as Hermès had donated some scarves for the group’s fundraiser.
One beautiful Paris morning, de Courcy offered to give some AWG members a tour of the Hermès Museum, located above the flagship store on 24 Rue du Faubourg Saint-Honoré. Such an invitation was, of course, eagerly accepted.
De Courcy explained how their product design team draws ideas from objects and documents in this private collection, started by Émile Hermès [Link to a previous post], a common source of inspiration for many Hermès designs, particularly vintage ones. De Courcy also happened to mention an American artist who had been working with Hermès and had recently designed the Kachinas [Link to a previous post] for the Fashion House: Kermit Oliver. Oliver had, in fact, been introduced to Hermès by Lawrence Marcus, the head of Neiman-Marcus, who was a huge fan and a long-time collector of Oliver’s art. [Link to a previous post]
About a decade later, now living in the U.S., Hart attended a lecture given by Diane Shaw, Lafayette College’s Special Collections librarian and archivist. The topic: The Marquis de Lafayette’s Design Influence in the early 19th century. One object Shaw brought to display at the lecture was an 1824 souvenir scarf, about the size of a bandana, faded to a soft yellow, and made as a souvenir of Lafayette’s return to the United States on his Farewell Tour. This talk, the souvenir scarf and remembering the Hermès Museum tour ten years earlier planted the seed for the project.
With Shaw’s encouragement, Hart pitched the idea of a scarf to de Courcy by a “shot in the dark” letter sent to Paris. The scarf would be timely, as the Marquis’ 250th birthday was coming up in 2007, still several years in the future. De Courcy put Hart in touch with Christine Duvigneau, the manager of the Hermès Design Studio. Then amazingly, Duvigneau presented the idea to Jean-Louis Dumas, Hermès’ charismatic chairman and artistic director (1978 to 2006). To Hart’s surprise, he loved the idea and committed to the project!
Details and Revisions.
Once the project was underway, Elaine Stomber, assistant college archivist, gathered numerous images of Lafayette items from Special Collections, including the little 1824 souvenir scarf, and sent digital copies to Hermès. Naturally, Hermès commissioned Kermit Oliver, the perfect artist for this project to bring such an intricate design to life! Oliver’s design combined elements from the college’s collections as well as other historic memorabilia related to the Marquis. Eighteen months later, the Hermès team came to Easton, PA, to show the design to the library team.
Ms. Stomber fact-checked the design over a period of weeks for perfect historical accuracy. Hart believes the scarf embodies the global connection the Marquis sought to inspire throughout his life. “This was really a prestigious project, and it was the first time Hermès had designed for an American college or university. The scarf also generated wonderful publicity for the college!”
It is important to remember that this project did not happen overnight. The time Mr. Oliver took to create the original gouache on paper with all his meticulous research, revisions, much proofing for accuracy at the college, and then time for Hermès to commit the design to silk with such detail and so many colors, all spanned a period of almost three years.
Finally in Fall 2007, the Marquis de Lafayette (its official title) Hermès carré was issued to commemorate Lafayette’s birth on Sept. 6, 1757.
It quickly became a most treasured design and a true GRAIL among collectors.
(photo courtesy Ms. Hart)
Up next: Blending History with Oliver’s Artistic Genius