After two sleepless nights I finally finished the editing of the images from the 28e FESTIVAL INTERNATIONAL DE MODE & DE PHOTOGRAPHIE HYÈRES 2013. FIVE photo albums loaded with curiosity, inspiration and the passion for detail are on view on my Facebook page. I am relieved and proud.

http://www.facebook.com/vanillachina/photos_albums


My first review for LessMagazine is online! Pure happiness! 
The review features my impressions of the fashion show of the Danish designer Anne Sofie Madsen that I saw this season at Copenhagen Fashion Week.

http://lessmagazine.com/324-anne-sofie-madsen-sirens-of-chrome/

My first review for LessMagazine is online! Pure happiness! The review features my impressions of the fashion show of the Danish designer Anne Sofie Madsen that I saw this season at Copenhagen Fashion Week.

http://lessmagazine.com/324-anne-sofie-madsen-sirens-of-chrome/


28e FESTIVAL INTERNATIONAL DE MODE & DE PHOTOGRAPHIE HYÈRES 2013

FUN FACTORS surroundings + + + Beautiful landscape, seaside, palm trees, much green and water views - especially for nature funs and lovers

weather + - Weather in the South of France is a tricky point: It supposed to be warm and sunny (you just need to recall all those images of sun-tanned jet set lounging around on the beaches of Saint Tropez, with designer sunglasses, sipping at the bottles of expensive champagne, scattered through the internet). But who for Christsake trust the weather forecast nowadays? It means that you can get a little surprise such as heavy rain that just wouldn’t stop and that would make all your (and the rest of the fashion crowd’s) fancy cloths wet and uncozy. I was lucky enough to have two sunny days upon my arrival and departure. The rest of the days required some organization skills, particularly in terms of finding a solution how to come around with the equipment (camera and diary), dressed in fancy cloths, and not to get too wet and dirty.

venues + + -

Villa Noailles The Hyères festival took place in a beautiful Villa Noailles, a remarkable piece of architecture, that is considered as one of the very first modernist style buildings constructed in France. It is a villa that was designed and built by the architect Rob Mallet-Stevens back in 1923 for the art collectors and the patrons of the art Charles and Marie-Laure de Noailles. They counted among their protégés some of the most famous and significant artists of that time such as Salvador Dali (painting), Lipchitz, Giacometti (sculpture), Francis Poulenc, Igor Markevitch (music), Chareau, Jean-Michel Frank (interior design). Some surrealist movies were also funded by the couple: “Les Mystères du Château du Dé”, which was filmed by Man Ray in 1929 in the villa, in 1930 the couple financed Jean Cocteau’s first film “Le Sang d’un Poète” and Luis Buñuel’s and Salvador Dali’s second film “L’Âge d’Or”. The cubist garden, which outstanding design features several geometric forms such as triangle, square and rectangle shapes, some of which are highlighted in particular color, f.i. red, blue and grey, some are planted with vegetation or filled with sand, was hosting the exhibition of the work of ten photographers, selected for photographic competition. The other rooms and areas of the villa were also turned into a showcasing space, a concert place or a conference room. The exhibitions, which were officially opened during the festival, are still running till the end of May 2013 and are open to the public.

the concerts

The chambers and the gardens of the Villa Noailles also served as a concert stage for the following live acts: Jeff Cohen, Perez, Hollydays and Eugene McGuinness.

Other venues + + +

La Capte is one of the 14 districts of the city of Hyères. Here in the hangars, where they used to store salt before, the official designer competition défilés took place. The huge space of the hangars made of wood was embellished with gorgeous chandeliers. All in all, unpretentious but spectacular design.

The afterparties were located in the picturesque surroundings of la Capte **and **Giens, a small place situated on the Giens Peninsila, just underneath the city of Hyères.

shuttle service + - - The shuttle buses were running between the places, bringing the visitors from the hotels to the show and exhibition place, and finally to the afterparties and back to the hotels. Even though the shuttle service was scheduled according to the program of the festival, the coordination wasn’t perfect so that it would be a big deal if you would miss a shuttle or if you would like to go to another location (let’s say back to the hotel) which is not scheduled in the official day timing program. The shuttle from the afterparty back to the hotels was the most hottest issue of the small talks during the whole festival - the mythic “Flying Dutchman”, almost impossible to detect or to catch. If I was lucky enough to stop one of the “Flying Dutchmans” on the road, there would be still another problem: they all would go in the direction of the city center of Hyères, and I was staying in Giens which is located on Giens Peninsula, the opposite direction to the city of Hyères. The shuttle bus - issue was always a difficult subject, but it added a certain thrill and a touch of unpredictability to my experience of the event.

the atmosphere + + +

The atmosphere was great despite of the rather inconvenient weather conditions. At the end, the weather was a thrilling adventure for everyone attending the festival. Rain coats, umbrellas, rubber boots, trench coats, sweaters, layering techniques, wet clothes that would still keep their charm - fashion has no limits and true fashionistas are ready to suffer if needed. The public was to 50% or up to 70% French (mostly from Paris) and the rest represented West as well as East European countries. This was my impression at least. Of course it was no problem not to speak French, but it would be definitely a big advantage for me, an oversized PLUS on the list of my abilities, so to speak, if I would SPEAK FRENCH. I just realized that if I would be able to communicate in French, it would help me very much to come around with the drivers of the shuttle buses (!) and other transport facilities, domestic people and would even benefit some of the festival related discussions. My conclusion: grab the dictionary and learn French! I set a goal for myself to boost my French skills before coming to the festival the next year. JE NE PARLE PA BEAUCOUP DE FRANçAIS…

Compared to other fashion events I was attending before, I liked the fact that at the Hyères festival it was quite easy to approach some of the key figures of the fashion industry as well as the artists and the designers. They were all accessible to the professionals and to the public, well to everyone who would like to talk to them or to ask them any questions. In this sense it is a great opportunity to learn from the insiders how fashion industry and fashion market work and also to get some information about the trends and the tendencies in both fashion and photography industries. Meeting new interesting people is probably the most positive experience that Hyères festival certainly has to offer. Also get inspired by people around by watching what they wear, by learning about what they do and what they would like to do.

Résumé: The Hyères festival is not just a fashion and photography competition event, but a cultural happening that involves fashion, art, photography, music and cultural exchange.

images: 1), 2), 3), 4) Villa Noailles, Hyères 5), 6), 7),8),9) Press, professionals, creatives exploring Villa Noailles and chilling in the sun 10) Cubist Garden at Villa Noailles


28e FESTIVAL INTERNATIONAL DE MODE & DE PHOTOGRAPHIE HYÈRES 2013

The exhibitions

The following exhibitions are hosted in the Villa Noailles in Hyères:

Felipe Oliveira Baptista A screen to the brain

The showcase piece is a huge electronic device that consists of many screens and wires which are connected to/with each other. The screens are switched on and show drawings, runway videos and photos, all of them - work of the designer Felipe Oliveira Baptista, who is currently working as a creative manager for Lacoste. Felipe Oliveira Baptista was selected as a jury member for this year Hyères festival fashion competition. As indicated by the title of the exhibition “A screen to the brain”, the showcased artwork is a metaphor for the artist’s/designer’s mind and the cerebral processes, which take place within it, and which are linked to the artist’s/designer’s creativity and working flow. From the first draft on paper to the ready made peace worn by the model - what seems to be an easy two-step process in the eyes of the outsider reveals itself as a complex multiphase development. The screens of the showcased artwork symbolize different stages of this developing process, and the wires are mapping the cerebral connections between the designing phases - smart and well handcrafted visualization of “the complex simplicity” of the human nature and of the thinking and the designing process.

Charles Fréger_ L. 12. 12 / Photography commission by Lacoste_ The photographic work of Charles Fréger, a French photographer and the president of the jury for the photographic competition Hyères 2013, is a result of the collaboration with Lacoste, on the occasion of the fashion house’s 80th anniversary. There is no review of the exhibition due to my disinterest in sportswear. I also don’t consider the exhibited photographs very much exciting. It is rather something for Lacoste lovers.

Guy Burdon Rough Proof

Pierre Debusschere I know simply that the sky will last longer that I

Jessica Eaton Cubes for Albers and LeWitt exhibition showcases 3D art works that can be explored by the public through the special 3D glasses. There are several geometric forms and shapes that are popping up from the wall and giving the visitor 3-dimensional space - sensation. The highlight of the exhibition is a bouquet of the flowers also made in 3D art technique. I had a slightly uncanny feeling while I was watching the bunch of flowers encased within the frame, which leaves and blossoms seemed to stick out of the frame in order to reach out the spectator - the trick that the 3D technique allows. The exhibition revealed to me how much potential the 3D technique actually has, especially for art exhibitions: it can stimulate visual sensations and intensify emotional effects in the spectator.

http://www.charlesfreger.com/ http://www.guybourdin.org/ http://www.pierredebusschere.com/ http://jessicaeaton.tumblr.com/

images: 1) The opening of the exhibitions at the Villa Noailles. From the left: Raphaёlle Stopin (Curator), Jean-Pierre Blanc (the director of the Hyères international festival of fashion and photography), Jessica Eaton (artist/photographer), Felipe Oliveira Baptista (designer, president of fashion jury at the Hyères festival) 2) The opening of the exhibitions at the Villa Noailles. From the left: Charles Fréger (photographer, president of the photo jury at the Hyères festival), Felipe Oliveira Baptista (designer, president of fashion jury at the Hyères festival), Raphaёlle Stopin (Curator) 3) The opening of the exhibitions at the Villa Noailles. From the left: Raphaёlle Stopin (Curator), Jean-Pierre Blanc (the director of the Hyères international festival of fashion and photography), Pierre Debusschere (photographer) 4), 5), 6) Felipe Oliveira Baptista’s artwork “A screen to the brain” 7), 8), 9) Looks from Lacoste Fall RWT 2013 collection by Felipe Oliveira Baptista


28e FESTIVAL INTERNATIONAL DE MODE & DE PHOTOGRAPHIE HYÈRES 2013

Jean-François Lepage Memories from the Future

Jean-François Lepage exhibition features the images of the Memories from the Future and The other side of the dream series. The showcased artwork has a whimsical dreamful aura as if the models and the objects featured in it would come from another “outer” world. The postures of the models are very static and “frozen”, a gesture, a glimpse of the moment, somewhere in-between the past and the future. The images have no time, and even the space doesn’t seem to be related to any time aspects. It stays undefinable. It is a world that can be seen and sensed, but can’t be approached. Some of the images are overpaint or feature cutouts and scratches, and are therefore something in-between a photograph, a painting or a collage, or even an amalgam of all three art techniques. This “deconstructing” technique adds a touch of oddness to the beauty of the models and to the objects arranged into the perfect settings, and it is questioning the idea of the classic perfect beauty, that the “cover shot” and “glossy magazine” images are known for, and which is highly valued within the fashion industry. The exhibition is a voyage into an uncanny beautiful world that challenges the common definition and perception of beauty and beautiful image, and explores the possibilities and limits of photography. The exhibited artworks show that by combining photography with other art techniques the limits can be overcome.

images: 1) The opening of the exhibition Jean-François Lepage “The Memories From the Future”, Tour des Templiers, place Massillon Hyères 2), 3), 4), 5) Inside view: Jean-François Lepage exhibition “The Memories From the Future”, Tour des Templiers, place Massillon Hyères 6), 7), 8), 9), 10) Jean-François Lepage photographs/artworks

Jean-François Lepage official website: http://two-eyes.com/


28e FESTIVAL INTERNATIONAL DE MODE & DE PHOTOGRAPHIE HYÈRES 2013

The selection of the candidates for the designer competition at The Hyères International Festival of Fashion and Photography is strict. Only 10 designers were picked from 355 applicants. The winner of the première vision jury grand prize of this year is the Finnish young fashion designer Satu Maaranen, who graduated from the Department of Design of the Aalto University School of Arts, Design and Architecture.

Interesting facts: according to the Marimekko official website Satu Maaranen used to design for Marimekko. Marimekko is a Finnish textile company that specializes in production of brightly colored printed fabrics, and was founded in 1951. An experience that certainly did an impact on Satu Maaranen design approach. https://www.marimekko.com/marimekko/news-and-events/marimekko-designer-satu-maaranen-wins-hyeres-prize-27351

Satu Maaranen womenswear collection is entitled Garment in Landscape and features trousers, skirts and jackets in different combinations. The designer is experimenting with shapes, volumes and sizes: long balloon skirts team up with narrow-legged trousers and cropped jackets. Calf-length pencil skirts are paired with bulky cropped tops and puffed voluminous sleeves. Each look is topped off with a large-brimmed hat way wider than the shoulder line. Some of the garments are embellished with an oversized knot/bow made of the same color printed fabric as the whole outfit. The collection also incorporates Swarovski Elements in its design. The highlight of the collection is the hand printed fabric in bold colors used for each creation: waves of colors such as sky blue, white, grey and black are mingled together, echoing the shapes of the mountains, rivers, roads and paths covered with snow. - The topography of the landscape translated into the garment. Saturated pink and soft beige, tangerine orange and neon green, olive green and caramel brown are applied to the garment in a certain order reminiscent of the color studies for a painting composition. The oversized details such as wide brimmed hats, huge bows and a XXXL shoulder bag add an extra Alice in the Wonderland - touch to the collection which reveals itself as a study of colors, shapes and volumes and their perception. The collection has both artistic and scientific qualities, rational and irrational elements: it takes inspiration from the real landscape and its topographic precision and goes beyond it by using the painting and fairy tale as a reference, positioning itself somewhere between dreamland and reality.

images: 1) Satu Maaranen backstage with models wearing pieces from her collection “Garment in Landscape” 2), 3) Models backstage wearing pieces from Satu Maaranen “Garment in Landscape” collection 4), 5) Satu Maaranen presenting her collection to the press in the tent in Villa Noailles at the Hyères International Festival of Fashion and Photography 6), 7), 8) Satu Maaranen’s collection “Garment in Landscape” on the runway in La Capte Hyères


28e FESTIVAL INTERNATIONAL DE MODE & DE PHOTOGRAPHIE HYÈRES 2013

Each of the ten competing fashion designers who were selected for the official competition had to design one outfit in order to enter the competition for the Chloé Prize award. The award is provided by the French Fashion House Chloé. The Swiss Menswear designer Camille Kunz was a lucky winner of “The Chloé Prize” this year. The winner outfit was a combination of long, slouchy palazzo trousers, printed in the same pattern as the designer’s mane menswear collection, and a white short-sleeved knitted top with a round neck. The trousers were visually cut into two parts due to the plain white top section in the body/panty shape that stood out from the wide cut pant legs - bottom section. The upper part of the knitted top was covered with a layer of shiny neon green latex. The sleeves and the top bottom were lined with three rows of Swarovski crystals. Soft color palette of white and off-white stayed true to the tradition of the House Chloé, which is known for muted colors and simple cuts that are frequently used in its collections. Neon green latex applied to the shoulder part of the knitted top added an edge to otherwise simple classic outfit.

The Chinese womenswear fashion designer Shanshan Ruan is a winner of **the public prize of the city of Hyères ** The winner collection that conquered the hearts of the public of the city Hyères shows layers of see-through organza applied on top of each other in a smart sophisticated way: the difference in length adds volume, soft colors like pale green, purple and peach provide depth. The cut is loose and airy, and express very well the idea behind the collection, which is entitled In Motion. The fabric softly moves and embraces the body of the model while she is walking the catwalk, it covers the body with a soft almost invisible veil that still allows to follow every movement and motion. Shanshan Ruan’s design is reminiscent of the atmosphere and the air that is protective, yet invisible to the eye. The quality of the cut and the sophisticated layer technique become apparent once the garment set in motion, like the air that we sense only while moving.

images: 1) Camille Kunz in fron of the jury presenting her design for the Chloé award 2) Camille Kunz pour Chloé 3) Young Chinese designer Shanshan Ruan, the winner of the public prize of the city of Hyères 4), 5), 6) Models backstage wearing pieces from Shanshan Ruan’s collection “In Motion” 7), 8) Shanshan Ruan’s collection “In Motion” on the runway in La Capte, Hyères


28e FESTIVAL INTERNATIONAL DE MODE & DE PHOTOGRAPHIE HYÈRES 2013

The public prize of Palais de Tokyo is the prize that is awarded to the winner according to the public choice. The election takes place in the French capital.

This year winner is the womenswear designer from the Netherlands, Yvonne Poei-Yie Kwok with the collection We dance like little Mary’s swaying to the symphony of destruction

The colorful quirky collection uses fabrics and materials such as chiffon/organza, neoprene, paper/cardboard and features pleats, strained strings, folded paper details, studs and eyelets, in a word: the tools which help the pieces of the garment hold together and which point out the constructive nature of Yvonne Poei-Yie Kwok’s design approach. Laced up sleeves, cardboard waistcoats, cardboard hold-up stockings with cut-out knees - these are constructions that already bear the traces of deconstruction. Lace up - unlace, button up - unbutton. A finished garment seems yet not to be finished and inherits the elements of a draft. There is no time to finish things. Lack of time for self-reflection and restrictions within the fashion system are two major ideas that served as source of inspiration for the collection, according to the designer’s statement (see the link below). Funky colors such as pink, orange, pistachio, canary-yellow and gold are contrasted with pastels like pale blue, peach, blush and soft mocca, - a carnivalesque potpourri, as if the joy and the madness would come together and join their crafts in order to suspend strict rules of the social (and fashion) system that can be so rigid. Read more about the collection here:http://cargocollective.com/inktspatten/following/thisispaper.com/Yvonne-Kwok-Graduation-Collection

images: 1) Yvonne Poei-Yie Kwok’s portfolio 2), 3), 4), 5), 6) Models backstage wearing pieces from Yvonne Poei-Yie Kwok’s collection “We dance like little Mary’s swaying to the symphony of destruction” 7) Lovely shoes from Yvonne Poei-Yie Kwok’s collection “We dance like little Mary’s swaying to the symphony of destruction” 8), 9), 10) Yvonne Poei-Yie Kwok’s collection “We dance like little Mary’s swaying to the symphony of destruction” on the runway in La Capte Hyères



Hermès scarves

Recently I came upon the images for the new SS 2013 Hermès campaign starring Karlie Kloss wrapped into the colorful Hermès scarves, photographed by David Sims.

The iconic Hermès carré scarves feature the most unusual designs and patterns and look rather as painted canvas and as an art object than a piece of fabric (that is the reason why many people consider the scarves as a piece of art and collect them). The Hermès scarves embody the beauty and the power of human imagination and reflect the cultural issues translated into the design and the pattern: human dreams and wishes, excitement about the new technology, the magic of exotic cultures and far-away countries, fascination with the world of maths and geometric systems and patterns, admiration for the nature and the animals, especially the horse due to the history of the company that was founded as a saddlery company and expanded its production over the years of its existence by manufacturing and by adding to the product catalogue such new items as ties, gloves, bags, belts and other leather goods. Hermès scarves are like a mind map. Once you unfold them, you plunge into yet unknown world that is there for you to be discovered.

Hermès silk carré scarves were introduced to the market in 1937 (note that the company was founded one hundred years before this date in 1837 by Thierry Hermès, as a maker of saddles for horses). The first carré is inspired by the scarf, which Napoleon’s soldier wore. It quickly became a must-have accessory with a masculine touch for the newly liberated women. As is well known, all of the Hermès products are inspired by horses and horse-riding. The horse-motifs can often be seen on Hermès carré scarves as well.

The first carré scarf featured a company of men and women playing cards and an inscription “Jeu des Omnibus et Dames Blanches” made on it. The scarf was designed by Hugo Grygkar. The name of “Dames Blanches” (white ladies) was bestowed on the two-compartment public omnibus that plied the Madeleine-Bastille run in Paris.

***The omnibus first came into use in Paris in March 1662, following an edict by Louis XIV, but they were quickly withdrawn. It was relaunched in 1827, 110 years before Hermès brought its first carré to the market. The first omnibus in London was pulled out in 1829 and in 1830 in New York. The early European omnibuses were pulled by three horses abreast as can be seen on the image of the scarf. Based in Nantes, one of the main omnibus producers in the 19th century was called Dames Blanches, and the company had given its name to a popular board game of that period. The centre of the scarf features the 19th century game players, dressed in the fashion of the period. The first Hermès carré scarf was printed from the woodcut patterned on the figures of an early board game.

Since 1937 Hermès continues producing the carrés with the most striking designs, developing and producing new patterns and reusing, reinterpreting and reprinting the old ones.

There is a huge database/catalogue on Hermès scarves available online that I came across while searching for carré images. I made my own selection of the items that I liked the most, in terms of colours, graphic and pattern, the motives and the themes used for the print patterns and screen prints. Hemès carré scarfs capture much of the symbolism and history of both Hermès company and France, its country of origin, as one can see in the designs and patterns of the beautifully handcrafted scarves made of the finest quality silk.

The following posts show my personal editor’s picks from the huge collection of Hermès carré scarves featuring the striking and beautiful designs. Enjoy!


Culture, Science and History collection by Hermès

The source: HSCI (Hermes Scarf Catalogue)

Images:

  1. “Kachinas” designed by Kermit Oliver in 1992

  2. “Marche Flottant du Lac Inle” by Dimitri Rybaltchenko in 1998

  3. “Musique des Dieux ” designed by Claudia Stuhlhofer-Mayr in 1996

  4. “Poesie Persane” designed by Julie Abadie in 2001

  5. “Tambours” designed by Joachim Metz in 1989, 1990, 1992, 1997, 2002

  6. “Magie des mains” designed by Jeremiah Jacob Kuany in 2002

  7. “Perles du Kenya” designed by Dimitri Rybaltchenko in 1997

  8. “Paddock” designed by Jean-Louis Clerc in 1956

  9. “Swinging St. Germain” designed by Jean-Louis Clerc in 2007

tba.


Culture, Science and History collection by Hermès

The source: HSCI (Hermes Scarf Catalogue)

Images:

  1. “Cheyennes” designed by Kermit Oliver in 1993

  2. “Cheval turc” designed by Christiane Vauzelles in 1969

  3. “Cuir du desert” designed by Francoise de la Perriere in 1988

  4. “La Danse” designed by Jean-Louis Clerc in 1961

  5. “Fêtes Vénitiennes” designed by Hubert de Watrigan in 1999

  6. “La Charreada” designed by Jean de Fougerolle in 1990

  7. “Chocs en plumes” designed by Christiane Vauzelles in in 1993/1994, 1996

  8. “Coach” designed by Francois de la Perriere in 1960s

  9. “Compass” designed by Jacques Eudel in 1962

  10. “Donner la main” designed by Karen Petrossian in 2002

tba.


Culture, Science and History collection by Hermès

The source: HSCI (Hermes Scarf Catalogue)

Images:

  1. “C’est La Fête” designed by Daisuke Nomura in 2012

  2. “Cavaliers des nuages” designed by J. C. Donnadieu in 1999

  3. “Astrologie (Dies et Hores)” designed by Francoise Faconnet in 1963

  4. “Brise de Charme” designe by Julia Abadie in 1990

  5. “Cavaliers peuls” designed by Jean de Fougerolle in 1997

  6. “Cannes et pommeaux” designed by Francois de la Perriere in 1985

  7. “Alphabet russe” designed by Eugenia Miroshnichenko in 2006

  8. “Ameriques” designed by Kermit Oliver in 1994

  9. “Armada” designed by Christiane Vauzelles in 1976

  10. “Automobile” designed by Joachim Metz in 1996

tba.


The History and The Horse Motif Collection by Hermès

The source: HSCI (Hermes Scarf Catalogue)

Images:

  1. “Les Auriges” aka “Mosaique Four Charioteers” or “Four Horsemen” designed by Hugo Grygkar in 1955

  2. “Equitation Japonaise” designed by Francois de la Perriere in 1969

  3. “Girouettes” designed by Joachim Metz in 1999

  4. “Luna Park” designed by Joachim Metz in 1993

  5. “Courbettes et Cabriolets” & “Palefroi” designed by Francois de la Perriere in 1965

  6. “Pampa” designed by Jean de Fougerolle in 1988 & “Les Rubans du Cheval” designed by Joachim Metz in 1993

  7. “Auteuil en mai” designed by Carl de Parcevaux in 1997

  8. “Grand Apparat” designed by Jacques Eudel in 1972

  9. “Bien Aller” designed by Jean de Fougerolle in 1979

  10. “Laisser Courre” designed by Jean De Fougerolle in 1979


Hermès or the way back home

A poem dedicated to Hermès carré scarves. I wrote this small poem when I was attending the competition that claimed that the winner will get a Hermès carré scarf. The competitors had to write a text that would somehow mention the Hermès carré. I won the competition but it turned out afterwards due to misleading announcement that the prise was not a Hermés scarf (PITY!), but a way cheaper version from the accessory brand “Pieces”. How disappointed I was!!! I comfort myself with the idea that I still have the poem and that it was a nice experience to attend the competition that made me grab a pen and write down a piece of poetry which I do very rarely.


I have a black Egyptian cat. Like velvet is its fur, like diamonds are its big shiny eyes. One day I saw the cat sitting in front of my door, that noble and graceful animal.

Every evening the cat scratched at my door until I let it in.



It sat down towards me and stared at me motionless. Its look was unbearable, this scrutinizing suffering look which pierced my heart like an arrow. I sighed, I suffered and the cat stared. One night in the bright moonlight The cat began to speak:

Greetings, the joy of my heart, My name is Hermeias, I come from Kemet, the Black Country.



Many years ago I came here to your country. I was curious and I was a free spirit. I wandered from place to place and I followed everyone whom I liked. One day I lost my old master. Sleepless I was looking for him on all streets and in all houses. No success. Since then I can find no peace and no way back home To beloved Black Country. I know, my child, you have a good true heart. Help me, please, to find the scarf.

Which one? Where? Why?

The silk Carré scarf. You will recognize it easily. It is with a beautiful interlacing adorning: the keys and the door knockers.

Will it help you to find your way back home?

Yes. It is the only one possible way back home. I have just to knock at the door. Anubis will hear me and let me in.



But how do you want to knock at the door that is printed on the scarf?

The cat laughed so that you could see its sharp milk-white teeth.

My child, there is nothing impossible in this world. Like every question already implies the answer.

Since that night I am looking for the silk scarf with an interlacing adorning and the ironworks featured on it (with the door knockers).



As I saw the Hermès scarves first time, I knew immediately: This is exactly what I am looking for in order to help the Egyptian cat to find the way back home.