There are few fashion houses that have as dedicated and continuous of a relationship with the art world like Hermès. One of the ways the French luxury brand demonstrates this is through its exquisite window displays, reaffirming its commitment to the highest level of craftsmanship in every form.
Yesterday, at the house’s flagship store on London’s New Bond Street, a new window display was unveiled – a colourful tableau tracking of dusk till dawn that encourages onlookers to peer in and interact with the work. Designed by frequent collaborator Jonathan Baldock, 10 sat down with the artist to understand more about the inspirations behind the window exhibit and what it’s like finding a creative synergy with Hermès.
1. As an artist that bridges together large scale sculptures with immersive experiences, walk us through your creative process – how do you transform an idea into a piece
In my work, I’m always trying to think of ways to create worlds, to invite the viewer in, as that is an important mechanism within my practice, ensuring it will be immersive. I think this can be as expansive as using scent in the work. There are common themes in my practice that are reoccurring, such as my interests in folklore, the body, mythology, and art history in the broad sense, and my background is in painting. I often think of my work as a ‘tableau vivant’, or work that you step into, with a performative aspect.
When I approach an exhibition, I start with an idea or theme, similar to how a theatre director might work. If you’re given a play, you then make it your own by interjecting your ideas into the work.
2. How did you ensure to represent the essence of the Hermes brand with the new window display?
First of all, I was given a brief, which was the spirit of the Faubourg. I love working within a brief because it hones my focus and makes it easier to work within a theme, as opposed to going off on a tangent. The alternative, having endless possibilities, can be overwhelming. I had never been to the Faubourg store, so my understanding of it comes only from pictures I’ve seen. It holds a kind of magic for me, an imaginary world, because I haven’t experienced it in person. The concept of transporting between worlds is a common theme in my work, and one way I explore this is through portals or peepholes, like those in the window for Rome. This idea, which I’ve used before, fit the theme well as I considered it in terms of bridging worlds – thinking about the public and the private, or the public outside and the commercial space of the store. It also connects London with Paris, and the real with the imagined, the fantasy.
There was much I could explore with this. What I’ve aimed to do is create something playful that engages the viewer in a particular way, treating the window as an active, rather than passive, space. I hope it encourages interaction, making you bend down, peer through, and look under and around. These windows, I hope, will transport you into another world.
3. What was the inspiration behind the display?
Sure, so the inspiration for the window came from two key sources. Firstly, it was the terrace garden of the Hermès store, which looked incredibly beautiful. Another recurring theme in my work is nature, particularly the Tuileries Gardens in Paris. I’ve been to Paris many times, and when I think of Paris, I think of its manicured parks, which are quite different from those in London. The Tuileries, in particular, stands out as an iconic Parisian park. I wanted to pay homage to that in the window.
In a way, there are two parallel worlds, or paths. There is the path outside and then a path behind these manicured hedges, which have mythological and folkloric references, like the Green Man in the leaves. The patination of the leaves on the hedges appears as faces, with the mouths and eyes functioning as portals. This recurring face motif appears throughout all five windows. Additionally, each window represents a different time of day, starting in the morning and progressing through evening, night like dusk till dawn.
4. How would you describe the narrative and meaning of the five windows that wrap around the shop – are they all intertwined?
They are very much intertwined. It is definitely one story that unfolds across the windows. This approach is, again, quite theatrical. I have presented it as if it were different acts in a play, starting from morning and continuing until dawn. There is a kind of magic that happens at various points, with some surreal moments. Another important aspect to mention is that Paris is the home of surrealism, so there are many surreal elements throughout. For instance, there is someone playing chess with a horse. There are fun, yet surreal, moments in the work.
5. Peepholes are a fundamental motif of your work, what encouraged you to use them in the show windows?
For me, it’s a way to invite the viewer into another world, to transport them from the street into this magical Hermès world and the artwork I’ve created. There is something about the window, being separate, that aligns with the definition of sculpture. It requires movement; the body must walk around it, look through it, and engage with it. I was thinking about how to use these portals to encourage movement, to get people to interact with the work as they would with sculpture, despite the pane of glass that separates us. This is what I’ve aimed to achieve – a playful mechanism to choreograph the viewer’s experience.
6. How did you find the process of merging your personal style with Hermes?
This is the second time I have collaborated on a window. I created a window for the flagship store in Tokyo, either in 2021 or 2022 – it was a great experience. I think Hermès carefully selects artists who they believe will work well with them. There is a significant overlap in our shared interest in craftsmanship. I incorporate handwork into everything I do, whether it’s basket weaving, textile making, or working in ceramics. I consider myself a craftsperson in my work, and I believe we collaborated effectively. We made good companions for another project.
What is really nice is that Hermès is very trusting and open to my ideas. While there is a conversation, I have never felt limited by what I present. They have always been very enthusiastic.
Photography courtesy of Hermès.
