Textiles

Hermès Ecru and Naturel Cashmere and Merino Wool Avalon Vibration Blanket<ul><li>10% cashmere, 90% merino wool</li><li>Includes box</li><li>This item is final sale and not eligible for return</li></ul>

Ecru and Naturel Cashmere and Merino Wool Avalon Vibration Blanket

Louis Vuitton Brown Neo Monogram Cashmere and Wool Blanket<ul><li>This item is final sale and not eligible for return</li></ul>

Brown Neo Monogram Cashmere and Wool Blanket

Hermès Écru and Black Cashmere and Merino Wool Avalon III Throw Blanket<ul><li>90% merino wool, 10% cashmere</li><li>Includes box</li><li>This item is final sale and not eligible for return</li></ul>

Écru and Black Cashmere and Merino Wool Avalon III Throw Blanket

Hermès Potiron Wool &amp; Cashmere Small Avalon III Pillows<ul><li>These pillows are 90% merino wool, 10% cashmere</li><li>Includes two pillow covers with zip closures, two pillow inserts and two dustbags</li><li>This item is final sale and not eligible for return</li></ul>

Potiron Wool & Cashmere Small Avalon III Pillows

Hermès Coco and Ecru Merino Wool and Cashmere Ithaque Blanket<ul><li>This blanket is 90% merino wool, 10% cashmere</li><li>Includes ribbon and box</li><li>This item is final sale and not eligible for return</li></ul>

Coco and Ecru Merino Wool and Cashmere Ithaque Blanket

A Japanese women's kimono from the Taishō period.<ul><li>Western and Japanese designers have often looked to other culture's art for inspiration, particularly during the Art Deco period. Greater ease of travel and new archeological findings made the “exotic” more accessible, and interpretations of its art were fresh and innovative in its time.</li><li>The Toureg ring and pendant seen here from the nomadic North African people were a sure sign of inspiration for this piece.</li></ul>

Japanese Taishō Toureg Style Kimono

A Japanese haori from the Taisho period.<ul><li>The Vienna Secession was a reaction to the conservative artistic institutions in Vienna at the end of the 19th century and spread rapidly via media such as catalogs and magazines. These certainly reached Japan, as is evidenced by the Secession’s influence on the Japanese design of the era.</li><li>The designer's choice for the pattern on this silk haori is akin to that of Josef Hoffmann's illustration for a poem by Rainer Maria Rilke, Year I, 1898, Issue 9, pg 23 Vienna, Austria in the Ver Sacrum which was the official journal of the Vienna Secession.</li></ul>

Japanese Taishō Vienna Secession Style Haori 

A Japanese men's silk haori from the Taishō period.<ul><li>The Arts and Crafts movement in Europe was heavily influenced by Japanese design, and in its turn was popular in Japan, a remarkable instance of cross-fertilization between two cultures.</li><li>Inspired by the Arts and Crafts movement in Britain and Europe, the Mingei movement in Japan was officially established in 1926. It promoted the work of named artists and craftspeople who were preserving and raising the standards of traditional craft threatened by industrialization.</li><li>The striking pattern on this haori is nearly identical to the wallpaper pattern by William Morris circa 1880, seen here.</li></ul>

Japanese Taishō Arts & Crafts Haori

A Japanese men's silk haori from the Taishō period.<ul><li>Western and Japanese designers have often looked to other culture's art for inspiration, particularly during the Art Deco period. Greater ease of travel and new archeological findings made the “exotic” more accessible, and interpretations of its art were fresh and innovative in its time.</li><li>This artist for this haori undoubtedly took inspiration from patterns coming from both Africa and the South Pacific as evident from this Tapa cloth example from the South Sea Islands.</li></ul>

Japanese Taishō Tapa Style Haori

A Japanese woman's silk kimono from the late Meiji, early Taishō period.<ul><li>Japan was among the first Asian countries to be influenced by Cubism which abandoned the conventional perspective in favor of showing multiple viewpoints simultaneously, as a way of suggesting a three-dimensional form.</li><li>The first contact occurred through European texts published in Japanese art journals in the 1910s and in the 1920s, Japanese artists studying in Paris brought back with them an understanding of modern art movements, hence in Japan, all modern art movements were subsequently called “Cubism.”</li><li>The designer of this kimono made in the meisen technique has used their interpretation of the Western alphabet decoratively, but their incorporation of it may have been prompted by the influence of Cubist works such as Pablo Picasso's Bottle of Vieux Marc, Glass, Guitar, and Newspaper from 1913 seen here.</li></ul>

Japanese Meiji Cubist Style Kimono

A Japanese kimono from the late Taishō, early Showa period.<ul><li>First introduced to the world at the International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925. In Japan, Art Deco took on another dimension—often the old designs seen in traditional crafts were fused with contemporary Western designs.</li><li>This new style flourished in book design and illustration, applied arts, and pattern designs when material and art magazines brought back by Japanese artists studying in the West provided inspiration.</li><li>The woven design of this kimono incorporates two ubiquitous motifs from the Art Deco period: three wavy lines, and the lighting bolt, which can be seen on the Kodak Art Deco Lightning Bolt Folding Camera from the same period.</li></ul>

Japanese Taishō Art Deco Kimono

A women's silk kimono with abstracted geometric designs from the Taishō period.<ul><li>While artist Paul Klee (1879–1940) found his greatest influences on trips to North Africa and southern Europe, and in fellow painter Cezanne, his resulting skills as a supreme colorist, use of architectural details and his own symbolism made him a&nbsp;far-reaching influence on 20th-century modernism.</li><li>This unusual kimono captures the fantasy of some of Paul Klee’s scenic works, including Rich Harbor and Waldhexen from 1938, seen here.</li></ul>

Japanese Taishō Cubist Style Kimono

A women's silk kimono with a botanical motif from the Taishō period.<ul><li>Eugéne Séguy (1890-1985) was a French entomologist and artist who specialized in Diptera. He combined these two loves by creating illustrations and designs of the various insects he studied. During the 20th century, he became famous&nbsp;for creating eleven albums of nature-themed illustrations and patterns. He was a masterful decorative artist who spanned the&nbsp;eras of&nbsp;Art&nbsp;Nouveau through&nbsp;Art&nbsp;Deco.&nbsp;</li><li>The artist of this kimono seems to have taken inspiration from Séguy and the Art Nouveau style, incorporating aspects of the artist's pochoir&nbsp;pictured here.</li></ul>

Japanese Taishō Art Noveau Kimono

A Japanese kimono from the Taisho period.<ul><li>The Russian constructivists held that art should serve a social purpose, which for them was the revolution beginning in 1919, and becoming the leading philosophy in all aspects of Soviet art, design and culture.</li><li>Given its roots in Cubism and its pervasive influence on modern art movements of the 20th century, it is not surprising that the style appears in Japanese textile designs of the period, such as this kimono bearing resemblance to Alexander Rodchenko's photographs, such as the one seen here from the 1920s and 1930s.</li></ul>

Japanese Taishō Russian Constructionists Style Kimono

A women's silk kimono with abstracted figural designs from the late Taishō, early Showa period.<ul><li>While artist Paul Klee (1879–1940) found his greatest influences on trips to North Africa and southern Europe, and in fellow painter Cezanne, his resulting skills as a supreme colorist, use of architectural details and his own symbolism made him a&nbsp;far-reaching influence on 20th-century modernism.</li><li>This unusual kimono captures the humor and fantasy of some of Paul Klee’s work, if not the movement and grace of Cooling in a Garden of the Torrid Zone from 1924, pictured here.</li></ul>

A Japanese kimono from the Taishō&nbsp;period.<ul><li>Raoul Dufy (French, 1877–1953) worked in the Impressionist, Fauvist and Cubist styles, and was also a successful textile designer for Bianchini-Ferier, whose patterns were used by prestigious Parisian couturiers Poiret and Charvet.</li><li>In this silk kimono, made in the meisen technique, the aesthetic is reminiscent of Raoul Dufy’s style, with its colors and loose brushstrokes which can be seen in Dufy's work Fruit Bowl, Bananas and Fruit on an Entablature from 1905.</li></ul>

Japanese Taishō Fauvist Style Kimono

A Japanese women's kimono from the Taishō period.<ul><li>Western and Japanese designers have often looked to other culture's art for inspiration, particularly during the Art Deco period. Greater ease of travel and new archeological findings made the “exotic” more accessible, and interpretations of its art were fresh and innovative in its time.</li><li>The designer of this kimono seems to have used motifs drawn from traditional African art, as seen in this wooden carving block and block printed textile from the Yoruba of Nigeria, which, to the untrained eye, is fairly similar.</li></ul>

Japanese Taishō Yoruba Style Kimono

Hermès Outremer Cashmere and Wool Avalon Vibration Throw Blanket, 2022<ul><li>90% Merinos wool and 10% cashmere</li><li>Includes ribbon and box </li><li>This item is final sale and not eligible for return</li></ul>

Outremer Cashmere and Wool Avalon Vibration Throw Blanket

Hermès Turquoise and Émeraud Avalon Jump'H blanket<ul><li>This blanket is 90% merino wool, 10% cashmere</li><li>This item is final sale and not eligible for return</li></ul>

 Acier and Encre Avalon Jump'H blanket

A large embroidered panel from the late Ming, early Qing dynasty.<ul><li>Embroidered in shades of gold, blue, pale green and orange, accentuated with&nbsp;couched gold threads.</li><li>The immortal stands with twinkling eyes and a pleasant smile, the face padded to emphasize the cranial bump, cheeks and nose, his hands and long fingernails cradling a large ripe peach with a gnarled staff suspending a scroll tucked between his arm and chest.</li><li>Dressed in a voluminous robe decorated with emblems of longevity including cranes and&nbsp;shou&nbsp;characters, a double-gourd and&nbsp;lingzhi&nbsp;dangling from the robe.</li><li>A spotted deer carrying further peaches on its back, looking up at the figure.</li><li>The use of padding to model Shoulao's face in relief is a relatively rare technique among panels of this type. Highlighting his pronounced forehead, cranial bump, smiling cheeks and rounded nose,&nbsp;the modeling&nbsp;adds to the figure's charm and character, drawing attention against the rest of the flattened ground.&nbsp;</li><li>Offered framed.</li></ul>

Chinese Ming Dynasty Shoulao and Deer Embroidered Panel

A military flag from Ghana.<ul><li>Used by the Fante people to designate a particular military group or Asafo, which had political influence and enforced standards within their communities.</li><li>The designs were chosen to represent specific characteristics within the company and often referenced Ghanaian proverbs and folklore, made by men utilizing trade cloth, stitching, cotton and appliqué.</li></ul>

African Fante Asafo Company Flag

A women's silk kimono from the Taishō period<ul><li>When Art Deco was introduced to the world at the&nbsp;International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925, this new style flourished in Japan in book design and illustration, applied arts and pattern designs. Illustrative material and art magazines brought back by Japanese artists studying in the West provided inspiration. In Japan, Art Deco took on another dimension, and the old designs seen in traditional crafts were fused with contemporary Western designs.</li><li>This kimono’s architectural surface design reflects the Art Deco detail used on the most design-forward buildings of the era, such as The Badgerow Building designed by K.E. Westerlind in Sioux City, Iowa in 1933.</li></ul>

Taishō Art Deco Style Kimono

A men's silk jacket featuring an overall three-dimensional pattern.<ul><li>When Art Deco was introduced to the world at the&nbsp;International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925, this new style flourished in Japan in book design and illustration, applied arts and pattern designs. Illustrative material and art magazines brought back by Japanese artists studying in the West provided inspiration. In Japan, Art Deco took on another dimension, and the old designs seen in traditional crafts were fused with contemporary Western designs.</li><li>Advertising posters in Modernist style also blanketed the streets in Paris in a cultural-artistic phenomenon. French business and industry were the first to use Modernism in Europe in their publicity campaigns.</li><li>Graphic design was a new artistic discipline and was instrumental in spreading the Art Deco and Cubist style as seen in this Statendam Holland-America Line poster by A. M. Cassandre from 1928, created with airbrushing.</li><li>This haori, while not airbrushed, incorporates the style, giving dimension to an otherwise flat surface.</li></ul>

Taishō Art Deco Style Haori

A brightly colored women's silk kimono from the Taishō period.<ul><li>When Art Deco was introduced to the world at the&nbsp;International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925, this new style flourished in Japan in book design and illustration, applied arts and pattern designs. Illustrative material and art magazines brought back by Japanese artists studying in the West provided inspiration. In Japan, Art Deco took on another dimension, and the old designs seen in traditional crafts were fused with contemporary Western designs.</li><li>The kimono mimics the zigzag geometry of Art Deco design, as well as the multiple perspectives of Cubism made with the Meisen technique.</li><li>Incorporating two modern art styles and a traditional Japanese design; Art Deco was largely based in Cubism, so to see them combined is not surprising. The triangle of flowers is a common Japanese design on kimonos, however, the style of the flowers is Art Deco, as are the colors.</li><li>Typical of the period and style, this kimono’s architectural surface design reflects the Art Deco detail used on the most design-forward buildings of the era, such as The Sinclair Building designed by architect Wiley G. Clarkson in Fort Worth, TX in 1930.</li></ul>

A women's silk kimono from the Taishō period.<ul><li>When Art Deco was introduced to the world at the&nbsp;International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925, this new style flourished in Japan in book design and illustration, applied arts and pattern designs. Illustrative material and art magazines brought back by Japanese artists studying in the West provided inspiration. In Japan, Art Deco took on another dimension, and the old designs seen in traditional crafts were fused with contemporary Western designs</li><li>This kimono’s architectural surface design reflects the Art Deco detail used on the most design-forward buildings of the era, such as The Mary A. Bowles Building by architect Douglas Dacre Stone in Oakland, CA from 1931, seen here.</li></ul>

A multicolor men's jacket featuring large fans.<ul><li>When Art Deco was introduced to the world at the&nbsp;International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925, this new style flourished in Japan in book design and illustration, applied arts and pattern designs. Illustrative material and art magazines brought back by Japanese artists studying in the West provided inspiration. In Japan, Art Deco took on another dimension and the old designs seen in traditional crafts were fused with contemporary Western designs.</li><li>This silk haori in the Meisen technique incorporates a fan, a frequent Japanese motif portraying the luxury, glamour and exuberance similar to the detail of the mural seen here from the Avalon Theatre painted by artist John Gabriel Beckman in 1929.</li><li>Typical of Taishō style, the fans are enlarged beyond the point of recognition and become interesting graphic elements.</li><li>Large, overlapping motifs over the entire kimono are the hallmark of design in the modern period</li></ul>

A woman's silk kimono with a floral motif.<ul><li>The Vienna Secession was a reaction to the conservative artistic institutions in Vienna at the end of the 19th century, and spread rapidly via media such as catalogs and magazines. These certainly reached Japan, as is evidenced by the Secession’s influence on the Japanese design of the era.</li><li>This kimono, made with the Meisen technique, shares many of the design elements of the era, as seen with the facade of the Majolica House, designed by Otto Wagner in 1898, pictured here.</li></ul>

Taishō Vienna Secession Kimono

A men's silk jacket in a pastel palette.<ul><li>Spanish artist Joan Miró was never closely aligned with any art movement except possibly Surrealism, though he was influenced by and maintained relationships with many of the major European modern artists of the 20th century.</li><li>The formal and technical innovations that he sustained over a very long career guaranteed his influence on 20th-century art worldwide.</li><li>The artist of this haori could have very well been influenced by Miró's painting Hirondelle Amour in 1933-34, seen here.</li></ul>

Shōwa Haori

A men's silk jacket from the Shōwa era.<ul><li>In the last decade of his life, when poor health prevented him from painting, Henri Matisse turned to cut paper as his primary medium, inventing the cutout. Matisse used a pair of scissors to create plants, animals, figures and shapes, transforming paint and paper. Gradually, Matisse preferred cutouts over painting and produced some of his most memorable work.</li><li>The artist of this haori could have been inspired by many of his works, including Composition, Black and Red from 1947, pictured here.</li></ul>

A women's silk kimono in a striking black and white floral pattern.<ul><li>Led by the architect&nbsp;Josef Hoffmann&nbsp;and associates such as&nbsp;Dagobert Peche&nbsp;and&nbsp;Koloman Moser, the Wiener Werkstätte was one of the longest-lasting design movements of the 20th century. As a precursor of&nbsp;Art Deco&nbsp;and the&nbsp;International Style, it drew from movements such as the Arts and Crafts and Art Nouveau, as well as from traditional folk art.</li><li>This striking kimono echoes Peche's 'spiky baroque' style inspired by folk art and using flowers, animals and human figures as decorative motifs, as seen in his wallpaper and lighting designs, pictured here.</li></ul>

Taishō Kimono

A men's silk jacket in the Cubist style.<ul><li>Japan was among the first Asian countries to be influenced by Cubism, which abandoned conventional perspective in favor of showing multiple viewpoints simultaneously as a way of suggesting three-dimensional form. It opened up nearly infinite possibilities for the treatment of visual reality, and was the influence for many later&nbsp;abstract&nbsp;styles including&nbsp;Constructivism&nbsp;and Futurism.</li><li>Pablo Picasso and Georges Braque forged a relationship that invented Cubism through their collaboration on collages beginning in 1907.</li><li>This haori, made with the Meisen technique, embraces these aesthetics and holds striking similarities between both Georges Braque's painting Cafe Bar 1919 and the design of the carpet in Radio City Music Hall by Ruth Reeves in 1932.</li></ul>

Taishō Cubist Haori

A women's silk kimono with a botanical motif.<ul><li>Eugéne Séguy (1890-1985) was a French entomologist and artist who specialized in Diptera. He combined these two loves by creating illustrations and designs of the various insects he studied. During the 20th century, he became famous&nbsp;for creating eleven albums of nature-themed illustrations and patterns. He was a masterful decorative artist who spanned the&nbsp;eras of&nbsp;Art&nbsp;Nouveau through&nbsp;Art&nbsp;Deco.&nbsp;</li><li>The artist of this kimono seems to have taken inspiration from Séguy and the Art Nouveau style, incorporating aspects of the artist's pochoir&nbsp;pictured here.</li></ul>

A women's silk kimono in the Cubist style.<ul><li>Japan was among the first Asian countries to be influenced by Cubism, which abandoned the conventional perspective in favor of showing multiple viewpoints simultaneously as a way of suggesting three-dimensional form. It opened up nearly infinite possibilities for the treatment of visual reality, and was the influence for many later&nbsp;abstract&nbsp;styles including&nbsp;Constructivism&nbsp;and Futurism.</li><li>French artist Sonia Delaunay (1885-1979), pictured here in her studio, who co-founded the Orphism art movement in 1912, expressed a version of Cubism that was noted for its use of strong colors and geometric shapes. In addition to painting and illustration, she designed costumes for the theater, ballet and films, as well as clothing for her own fashion studio.</li><li>This kimono with its bright colors and concise geometric shapes appears as though it came from the studio of Sonia herself, and one could picture it being worn by her models.</li></ul>

Taishō Cubist Kimono

A women's silk kimono with an abstracted pattern.<ul><li>Originating in Italy, Futurism was enamored with speed and technology, youth and violence, fascism and the industrial city. The Futurists practiced in every artistic medium, and to some extent influenced Constructivism, Art Deco, Surrealism and Dada.</li><li>This kimono bears a Futurist interpretation of the rose, a popular motif during the Taisho Era—the rose being an exotic Western flower not cultivated in Japan at the time.</li><li>The designer of this kimono has abstracted the rose so completely in the futurist style that it is barely recognizable, and has a similar aesthetic to that of Italian Futurist artist Gerardo Dottori's painting Astral Rhythms from 1916, pictured here.</li></ul>

Taishō Futurist Kimono

Men's silk jackets in complementing abstract designs.<ul><li>Sold as a set of 2.</li><li>Pablo Picasso, an artist who needs no introduction, was not only an indelible influence across all art forms but took inspiration from the traditional arts of Africa, the South Pacific as well as the Far East.</li><li>In turn, Japanese artists expanded upon his abstract designs, particularly in textile design.</li><li>This pair of haori are near mirror images of Picasso's Constellation Drawing from 1924 and Kitchen from 1948, pictured here.</li></ul>

Taishō Haori

A women's silk kimono with a brushed pattern.<ul><li>Japan was among the first Asian countries to be influenced by Cubism, which abandoned the conventional perspective in favor of showing multiple viewpoints simultaneously as a way of suggesting three-dimensional form. It opened up nearly infinite possibilities for the treatment of visual reality, and was the influence for many later&nbsp;abstract&nbsp;styles including&nbsp;Constructivism&nbsp;and Futurism.</li><li>Partly influenced by the late work of artist&nbsp;Paul Cézanne,&nbsp;in which he can be seen to be painting things from slightly different points of view, this kimono bears a striking resemblance to his painting Mont Sainte-Victoire from 1904.</li></ul>

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Hermès

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In the style of Josef Hoffmann

In the style of William Morris

In the style of Pablo Picasso

In the style of Paul Klee

In the style of Eugéne Séguy

In the style of Alexander Rodchenko

In the style of Paul Klee

In the style of Raoul Dufy

Hermès

Hermès

In the style of Joan Miró

In the style of Henri Matisse

In the style of Dagobert Peche

In the style of Georges Braque

In the style of Eugéne Séguy

In the style of Sonia Delaunay

In the style of Gerardo Dottori

In the style of Pablo Picasso

In the style of Paul Cézanne