Issue link: https://read.dmtmag.com/i/32301
The opening of the store in Saint-Germain-des-Prés also coincided with the reissue of 12 furniture pieces designed by Jean-Michel Frank. In the 1920s, Frank, a self-taught decorator became part of the Paris elite. when they debuted a new collection during the annual furniture fair in Milan. Overseen by Artistic Director Pierre-Alexis Dumas, the pieces were exhibited in a pavilion constructed from paper and cardboard tubes designed by Shigeru Ban and Jean de Gastines, architects of the new Center Pompidou- Metz. Hermès collaborated closely with B&B Italia on manufacturing the three collections including the Sellier Chair by RDAI Studio, Métiers, by Ital- ian architect Enzo Mari and Matières, a seven-piece living collection by Ital- ian architect Antonio Citterio. “Enzo Mari gave us a collection of a home office, and a beautiful table and chair as well. You can feel his attraction to the hand-craft of Hermès,” says Hélène Dubrule, director of Hermés Maison. “We like the balance between creation and re-edition because it’s really the spirit of Hermès. Tradition leads to innovation, she says.” Spitzer, who is also a relative of Frank, believes that young people not interested in collecting will be attracted to owning “this type of furniture, be- cause it goes well with design and contemporary architecture.” He adds, “Of course, the original work is scarce and a lot more expensive than Hermès.” Manhattan architect Lee Mindel, a long-time client of the leather goods brand, wonders how Hermès “will stay true to their culture, while not getting too steeped in the past. When I think of Hermès I always think of the leather. That vocabulary, I am very comfortable with.” Mindel adds, “I don’t see it as a collectible. It’s just beautiful furniture.” Top: The new Hermès flagship store formerly housed one of Paris’ oldest swimming clubs in the 1930s; above, a folding screen from the Jean- Michel Frank collection. Opposite, Frank’s iconic Confortable chair. CULTURED 71 COURTESY HERMÉS