Would you please introduce yourself?

I am Perrine Boudy, and I am 30 years old. I am based in Brussels, where I produce drawings and ceramics. After majoring in law in Paris, I moved to Nice and studied art. My first encounter with Hermès was in June 2025, when I was given the opportunity to design the window display of the Megève store in southeast France. The Ginza Maison Hermès window display marks my second collaboration with Hermès. It was a lot of fun for me, and it was nice for me to be able to visit Japan for the first time!

What does drawing mean to you?

Drawing is one form of expression I can use to convey something visually. Unlike painting, which you can do over and over, once you’ve drawn a line, that’s it—you can’t erase it. If you’ve drawn a straight line, you can’t bend it later. That to me is the appeal of drawing.

Drawing also lets me connect different mediums. For example, if I display a ceramic work in an empty space, by drawing something on the wall, I can create a deeper aesthetic link between the work and the space.

Finally, drawing is an important tool that helps me give form to my ideas. Even when doing ceramics, I always start by sketching my ideas on a sheet of paper.

Tell us about the window display you designed for Ginza Maison Hermès.

The annual theme is “Drawn to Craft”, so I drew images on paper using watercolour and ink. I then scanned and enlarged these drawings and placed them in a three-dimensional display.

I call it “Horses in the Italian Garden”. It was inspired by many things, including my childhood memories of playing in La Turbie, a small village north of Monaco where my grandfather lived; my fondness for Mediterranean culture and Greco-Roman antiquity; and a book on Italian Renaissance gardens that I found in a second-hand bookshop. I pictured myself wandering a world of pillars that evoke ancient temples, gardens dotted with busts of horses, and dense shrubs.

I am a big fan of the early-20th-century fashion illustrator and theatrical costume designer Christian Bérard as well as Jean Cocteau. Their work mixes fine art with costumery in a way that really resonates with me, and I think that is the sensibility I was able to bring to this window display.

Why do you think drawing is so deeply rooted in Hermès’s DNA?

When I think of Hermès, I think of its carrés scarves—and they are such treasure troves of great drawing. But I think Hermès has a tradition of using drawing as a basis for all its objets—leather products, homeware, cookware. If you visit an Hermès store, you will find copperplate prints, sketches, and other artwork related to horses everywhere. Just from this decorative choice alone, you can tell that drawing is very important to Hermès.