Looking at her work, reconstructed in an exhibition on the Grand Palais in Paris, Leïla Menchari can see her life unfold. Listed here are the trellis arcades; the extraordinary fretwork; and the mimosa, jasmine and eucalyptus of her childhood in Tunisia.
Right here, too, the majestic stonework – carving legendary creatures into elbow rests for stone benches – suggests locations of solar and shade. From grotto to sandy shore, the designer weaves an ethereal internet of surprise, and all to create a backdrop for the Hermès Paris boutique.
“Leïla Menchari, the Queen of Enchantment” (Hermès À Tire-d’Aile – Les Mondes de Leïla Menchari), which runs till the third December, is a tribute to the inventive stage-maker of the famed French home, which galloped from making horse saddles to creating purses. A fixture at Hermès since she joined as a junior within the artwork division in 1961, the designer turned important to the enterprise beneath the late chairman, Jean-Louis Dumas, till she created her closing fantasy in 2013.
It was Axel Dumas, who lived with what he calls the designer’s “flamboyant” window shows lengthy earlier than he took over Hermès from his uncle Jean-Louis, who determined to pay this public homage to the lady who turned “a part of the household” as she supplied her magic from the nook window on the rue du Faubourg Saint-Honoré.
“When designing a scene, there should at all times be some thriller, as a result of thriller is a springboard to goals; an invite to fill the gaps left by the creativeness,” the manager mentioned, escorting Leïla Menchari across the exhibition opening as if she had been the mom of the household.
“For me, Hermès represents household: I felt I had been adopted, introduced in from the chilly,” mentioned the designer, who, after an upbringing with a feisty, feminist mom in Tunisia, had felt alone in Paris whereas finding out on the École des Beaux-Arts.
Calling a window show “a manner of telling a narrative” and describing the large window as a theatre, she used her information of set design to make “each show, nevertheless advanced or minimalist”, a tableau.
An accompanying guide by award-winning French author Michèle Gazier, tells the Leila Menchari story in poetic element.
No matter surprises and reminiscences are in retailer for guests to the exhibition, they need to know from the beginning that not one of the unimaginable purse creations that function within the shows had been ever bought. As a substitute, they acted as props within the life historical past that the Tunisian artist wove by way of her work for Hermès. But, on the similar time, these flights of fantasy, proven as museum items, are peopled by purses that had their roots in Leïla’s life – after which flowered in Paris.
Leïla remembers the response of “There’s nothing there!” when she confirmed Jean-Louis Dumas the now-iconic window of a solitary sandy seaside; a reef sculpted from white marble within the form of a wave, with only a pair of sun shades and a swimsuit. However a tart orange-scented perfume sprayed into the road lured within the purchasers.
The museum’s recreated window shows are not often minimalist, and far is woven into these Maghreb references to palm bushes and brimming bowls of spices. They’re served up on wood platters with a painted panther-skin purse on high. Behind it are extra luggage, slippers and even a saddle within the animal sample, set towards a sun-gold ground.
The designer’s creative thoughts by no means strikes removed from Tunisia, the place a heavy, carved silver chair is replicated within the floor of a Kelly bag, or the well-known, traditional purse rests on sunshine-yellow fur under purple crystals and a winged horse.
It’s simple to understand the delicacy of handwork that creates a hyperlink between a bag marked with the sample of the trellis behind it, however different inspirations are nearly too ethereal to simply accept, resembling a spider’s internet of threads from which tiny pastel-coloured purses seem to dangle.
After which there may be the horse: the image of the way it all started at Hermès, initially a provider of saddles. However Leila’s “animal” is made as if from its personal cover, from flat items of orange or black leather-based riveted collectively and proven with a silver sandal and luggage in an analogous texture.
Are these Hermès shows artwork? Or craft? I’d say each – with a brush of exuberant and creative magic.