Reimagining the aimlessly wandering woman.
John Singer Sargent, A Street in Venice, oil on canvas.
I started noticing the ads in the magazines I read. Here is a woman in an asymmetrical black swimsuit, a semitransparent palm tree superimposed on her head, a pink pole behind her. Here is a woman lying down, miraculously balanced on some kind of balustrade, in a white button-down, khaki skirt, and sandals, the same dynamic play of light and palm trees and buildings around her. In the top-right corner, the words Dans l’oeil du flâneur—“in the eye of the flâneur”—and beneath, the Hermès logo. The flâneur though whose “eye” we’re seeing seems to live in Miami. Not a well-known walking city, but why not—surely flânerie needn’t be confined to melancholic European capitals.
The theme was set by Hermès’s artistic director, Pierre-Alexis Dumas. While the media coverage of the campaign and the traveling exhibition that complemented it breathlessly adopted the term, Dumas gave a pretty illuminated definition of it. Flânerie, he explained, is not about “being idle” or “doing nothing.” It’s an “attitude of curiosity … about exploring everything.” It flourished in the nineteenth century, he continued, as a form of resistance to industrialization and the rationalization of everyday life, and “the roots of the spirit of Hermès are in nineteenth-century Flânerie.” This is pretty radical rhetoric for the director of a luxury-goods company with a €4.1 million yearly revenue. Looking at the ads, as well as the merchandise—including an eight-speed bicycle called “The Flâneur” that retailed for $11.3k—it seems someone at Hermès didn’t share, or understand, Dumas’s vision. Read More »