Function and
emotion in an objet

Both Charlotte Macaux Perelman, who started her career under the designer Philippe Starck and has worked on numerous architectural projects, and Alexis Fabry, an editor and curator specialising in Latin American photography, have been with Hermès since 2014. Driven by a shared passion for craftsmanship, they work together to oversee the artistic direction of the Hermès Home Universe, as well as Saint-Louis and Puiforcat. They have been involved in the creation of objets that have been featured in the window displays at Ginza Maison Hermès. The duo shares their thoughts about the aesthetic of craftsmanship that they strive to achieve.

Alexis Fabry: Charlotte and I are in our 12th year at Hermès. We are very much aligned, and we believe strongly in teamwork. Our work encompasses objets, textiles, and furniture, each of which has its own dedicated designers and artisans. Charlotte and I have been friends for a long time. I would encourage other people to try working with friends—they may find that it reinforces their own convictions.

Charlotte Macaux Perelman: The Ginza Maison is a landmark of modern architecture. Long before we ever dreamed of working at Hermès, this building had left a profound impression on us. Our challenge was to determine how to infuse the Hermès spirit into this glass-block masterpiece. Its design is precise, uniform, and unambiguous. In contrast, the window displays are brimming with detail and colour. They breathe life into small objets; they are creative adventures unfolding on a tiny scale within minuscule worlds.

Charlotte: For the Hermès en Contrepoint tableware collection, we started by discussing a nautical chart theme with artist Nigel Peake. But once we began brainstorming the designs, we realised that they were far too cluttered. Nigel had at one point drawn the outlines of the maps and the map scale—and we eventually realised that nothing more was needed. We decided to remove the map and keep only the outlines, which is the design we ended up with.

Alexis: I am particularly fond of the Casaque Double d’Hermès glassware. We are constantly looking for new materials, but even when working with materials we already have on hand, we think about how to make them feel uniquely Hermès. In this case, incorporating graphics into the glassware proved to be particularly effective. The objets are made on the Island of Murano in Venice, which is famous for glassblowing.

Alexis: I believe that two distinct aesthetics coexist in Japanese craftsmanship. On the one hand, you have the incredible mastery of traditional techniques demonstrated by the artisans and artists. On the other, there is a realm of decorative art characterised by what I call “restrained perfection”.

Charlotte: What appeals to us about this kind of Japanese popular culture is that objects created solely for function nonetheless carry an emotional resonance. The respect for materials is what makes these objects beautiful, even when they weren’t intentionally designed that way.

Alexis: Their humble designs also allow them to convey something about the artisan, which ultimately speaks to the essence of Hermès as a house of artisans. It is why we are always looking for new excuses to visit Japan!