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For a review of which fashion brands can be encouraged for 30 years, check out the latest Hermès show.
By Jacob Gallagher
Paris Report
Here is a small concept of Hermès’s veneration through other fashion designers: a few hours after Hermès’s fashion exhibition on Saturday, just in the morning, I visited the Japanese logo exhibition room A. Presse. There, the designer, Kazuma Shigematsu, told me, having come, that he had collected pieces of the Hermès catalog.
“I love the French harvest,” said Shigematsu. To be transparent, this only came with Hermès: Mr. Shigematsu also loved Charvet, for the appeal of real clothing shirts.
But it is the fall of the Hermès that made the four -year brand of m. Shigematsu click for me. The exhibition hall, a carousel of lamb leather jackets with Waffley Kashmir, bombers made not utilitarian nylon, but Hed silk aristocratic, chiseled as the “perfect” elusive “levi’s you you your your life in missions.
“I don’t like fashion,” Shigematsu said, explaining his work. “I am in favor of a new word. “
These are garments that sang with their simplicity, which reflected trust, chaos. They were trap codes to dress more intelligently. All the attributes I can say without problems on Hermès.
A. Prese the logo that I had heard about the whole week. “You have to get there,” I said. I can see why.
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