View allAll Photos Tagged Ropac
petite série de 2013, prise à Pantin (93)
Suite de la visite de la galerie Thaddaeus Ropac, qui était alors ouverte depuis peu, et son exposition Die Ungeborenen de l'artiste Anselm Kiefer.
petite série de 2013, prise à Pantin (93)
Suite de la visite de la galerie Thaddaeus Ropac, qui était alors ouverte depuis peu, et son exposition Die Ungeborenen de l'artiste Anselm Kiefer.
En détail...
petite série de 2013, prise à Pantin (93)
Suite de la visite de la galerie Thaddaeus Ropac, qui était alors ouverte depuis peu, et son exposition Die Ungeborenen de l'artiste Anselm Kiefer.
petite série de 2013, prise à Pantin (93)
On commence par la galerie Thaddaeus Ropac, qui était alors ouverte depuis peu, et son exposition Die Ungeborenen de l'artiste Anselm Kiefer.
Prenez soin de vous, merci à tous pour vos nombreux passages sur ma galerie, et vos souhaits d'anniversaire.
.
Pantin - Galerie Thaddaeus Ropac
Exposition Alex Katz - 45 ans de portraits
© Adèle - Tous droits réservés
.
Ely House, a listed mansion in Mayfair on Dover Street, built in 1772 by Sir Robert Taylor, was renovated by architect Annabelle Selldorf and was the former residence of the Bishop of Ely.
www.ropac.net/contact/london-ely-house
A non-HDR composition.
Tony Cragg was born in 1949 in Liverpool and lives and works in Wuppertal, Germany. He plays a leading role in the contemporary art world in the debate on the function and nature of sculpture: in his works he investigates the relationship between art and materials as well as art and science.
Before graduating from the Royal College of Art in London in 1977, he worked as a lab technician at a materials research institute, where he studied in detail the characteristics of materials. In 1979, he moved to Wuppertal and he began to teach at the Kunstakademie, Düsseldorf. At a time, when the artistic movements of Minimalism, Conceptual Art and Arte Povera were the cornerstones of avant-garde art, Cragg became one of the protagonists of the sculpture renewal. Early works of the 1970s were mostly made with found objects through which he created wall or floor installations, questioning the difference between painting and sculpture and testing techniques like stacking, splitting, and crushing. In later pieces his interest shifted to surface quality, manipulation and unlikely juxtapositions of materials, processing solid materials into fluid and dynamic shapes. In recent years, he has been exploring the contrasting ideas of compression and expansion in totemic structures where the presence of human profiles is often peripheral to the sculpture as a whole. Since the 80’s he has exhibited in numerous institutions of international importance, to mention the most recent: Aliyev Art Centre (2014), Baku; Milan Cathedral (2015); ADAA (2015), New York; Fondazione Berengo (2015), Venice; Galerie Thaddeus Ropac (2016), Paris; Hermitage Museum (2016), St. Petersburg; Lisson Gallery (2016), London. He was awarded the Turner Prize (1988); represented Great Britain in the 43rd Venice Biennale (1988); elected Royal Academician, Kunstakademie, Düsseldorf (1994); won 1st Prize for Best Sculpture, Beijing Biennale (2005); received an Honorary Doctorate, Royal College of Arts (2009), London; Artist’s Medal of Honor of the Hermitage (2012), St. Petersburg; and was knighted by Queen Elizabeth II for services to Visual Arts and UK-German Relations (2016).
TONY CRAGG – Senders, 2018
TONY CRAGG
Né en 1949, à Liverpool, Royaume-Uni. Vit et travaille à Wuppertal, Allemagne.
Tony Cragg commence ses études au Gloucestershire College of Art and Design, avant de suivre l’enseignement du Royal College of Art de Londres en 1973. Dès 1979 il enseigne à l’Académie des arts de Düsseldorf, où il devient professeur en 1988 et reçoit le Turner Prize. En 2001, il est nommé professeur de sculpture à l’Académie des arts de Berlin. Depuis 1994, il est membre de l’Académie royale des arts de Londres et, depuis 2002, de l’Académie des arts de Berlin. En 2007, Cragg reçoit le Praemium Imperiale et en 2009, il succède à Markus Lüpertz en tant que recteur de l’Académie des arts de Düsseldorf (jusqu’en 2013). En 2013 et 2014, Cragg enseigne au Collège de France à Paris. Tony Cragg se considère comme un matérialiste radical, en constante recherche de nouveaux matériaux dont il explore et développe les possibilités. Il a fréquemment utilisé des techniques telles que l’empilement, la superposition et l’amoncellement de différents types de rebuts et d’objets du quotidien, leur donnant une interprétation inattendue. Celles-ci rappellent des formes géologiques naturelles, comme la sédimentation de particules minérales pour créer des strates ou encore l’altération de la roche par les forces du vent et de l’eau. Les œuvres récentes suggèrent quant à elles le mouvement et le caractère éphémère des éléments, comme dans ses formes en acier inoxydable qui évoquent la fluidité du métal en fusion.
L’œuvre pour Paris La Défense
À Paris La Défense, Tony Cragg installe son œuvre Senders. La verticalité de cette sculpture en colonne évoque Constantin Brâncuși (1876-1957) dans son approche unique de l’abstraction. Le propos n’est pas de copier ou représenter ce qui existe, mais découvrir quelles idées et quelles émotions peuvent être évoquées à travers l’utilisation de nouvelles formes et de nouveaux matériaux. « Son travail artistique montre une vision de l’être humain établie à travers sa relation à l’environnement […] et des outils que nous utilisons pour façonner le monde » Lynne Cooke, 2003
Senders :
2018, Fiberglass, 1 400 kg, 650 × 290 × 250 cm
Courtesy Tony Cragg et Galerie Thaddaeus Ropac, Londres Paris Salzburg Seoul
Tony Cragg was born in 1949 in Liverpool and lives and works in Wuppertal, Germany. He plays a leading role in the contemporary art world in the debate on the function and nature of sculpture: in his works he investigates the relationship between art and materials as well as art and science.
Before graduating from the Royal College of Art in London in 1977, he worked as a lab technician at a materials research institute, where he studied in detail the characteristics of materials. In 1979, he moved to Wuppertal and he began to teach at the Kunstakademie, Düsseldorf. At a time, when the artistic movements of Minimalism, Conceptual Art and Arte Povera were the cornerstones of avant-garde art, Cragg became one of the protagonists of the sculpture renewal. Early works of the 1970s were mostly made with found objects through which he created wall or floor installations, questioning the difference between painting and sculpture and testing techniques like stacking, splitting, and crushing. In later pieces his interest shifted to surface quality, manipulation and unlikely juxtapositions of materials, processing solid materials into fluid and dynamic shapes. In recent years, he has been exploring the contrasting ideas of compression and expansion in totemic structures where the presence of human profiles is often peripheral to the sculpture as a whole. Since the 80’s he has exhibited in numerous institutions of international importance, to mention the most recent: Aliyev Art Centre (2014), Baku; Milan Cathedral (2015); ADAA (2015), New York; Fondazione Berengo (2015), Venice; Galerie Thaddeus Ropac (2016), Paris; Hermitage Museum (2016), St. Petersburg; Lisson Gallery (2016), London. He was awarded the Turner Prize (1988); represented Great Britain in the 43rd Venice Biennale (1988); elected Royal Academician, Kunstakademie, Düsseldorf (1994); won 1st Prize for Best Sculpture, Beijing Biennale (2005); received an Honorary Doctorate, Royal College of Arts (2009), London; Artist’s Medal of Honor of the Hermitage (2012), St. Petersburg; and was knighted by Queen Elizabeth II for services to Visual Arts and UK-German Relations (2016).
Tony Cragg was born in 1949 in Liverpool and lives and works in Wuppertal, Germany. He plays a leading role in the contemporary art world in the debate on the function and nature of sculpture: in his works he investigates the relationship between art and materials as well as art and science.
Before graduating from the Royal College of Art in London in 1977, he worked as a lab technician at a materials research institute, where he studied in detail the characteristics of materials. In 1979, he moved to Wuppertal and he began to teach at the Kunstakademie, Düsseldorf. At a time, when the artistic movements of Minimalism, Conceptual Art and Arte Povera were the cornerstones of avant-garde art, Cragg became one of the protagonists of the sculpture renewal. Early works of the 1970s were mostly made with found objects through which he created wall or floor installations, questioning the difference between painting and sculpture and testing techniques like stacking, splitting, and crushing. In later pieces his interest shifted to surface quality, manipulation and unlikely juxtapositions of materials, processing solid materials into fluid and dynamic shapes. In recent years, he has been exploring the contrasting ideas of compression and expansion in totemic structures where the presence of human profiles is often peripheral to the sculpture as a whole. Since the 80’s he has exhibited in numerous institutions of international importance, to mention the most recent: Aliyev Art Centre (2014), Baku; Milan Cathedral (2015); ADAA (2015), New York; Fondazione Berengo (2015), Venice; Galerie Thaddeus Ropac (2016), Paris; Hermitage Museum (2016), St. Petersburg; Lisson Gallery (2016), London. He was awarded the Turner Prize (1988); represented Great Britain in the 43rd Venice Biennale (1988); elected Royal Academician, Kunstakademie, Düsseldorf (1994); won 1st Prize for Best Sculpture, Beijing Biennale (2005); received an Honorary Doctorate, Royal College of Arts (2009), London; Artist’s Medal of Honor of the Hermitage (2012), St. Petersburg; and was knighted by Queen Elizabeth II for services to Visual Arts and UK-German Relations (2016).
TONY CRAGG – Senders, 2018
TONY CRAGG
Né en 1949, à Liverpool, Royaume-Uni. Vit et travaille à Wuppertal, Allemagne.
Tony Cragg commence ses études au Gloucestershire College of Art and Design, avant de suivre l’enseignement du Royal College of Art de Londres en 1973. Dès 1979 il enseigne à l’Académie des arts de Düsseldorf, où il devient professeur en 1988 et reçoit le Turner Prize. En 2001, il est nommé professeur de sculpture à l’Académie des arts de Berlin. Depuis 1994, il est membre de l’Académie royale des arts de Londres et, depuis 2002, de l’Académie des arts de Berlin. En 2007, Cragg reçoit le Praemium Imperiale et en 2009, il succède à Markus Lüpertz en tant que recteur de l’Académie des arts de Düsseldorf (jusqu’en 2013). En 2013 et 2014, Cragg enseigne au Collège de France à Paris. Tony Cragg se considère comme un matérialiste radical, en constante recherche de nouveaux matériaux dont il explore et développe les possibilités. Il a fréquemment utilisé des techniques telles que l’empilement, la superposition et l’amoncellement de différents types de rebuts et d’objets du quotidien, leur donnant une interprétation inattendue. Celles-ci rappellent des formes géologiques naturelles, comme la sédimentation de particules minérales pour créer des strates ou encore l’altération de la roche par les forces du vent et de l’eau. Les œuvres récentes suggèrent quant à elles le mouvement et le caractère éphémère des éléments, comme dans ses formes en acier inoxydable qui évoquent la fluidité du métal en fusion.
L’œuvre pour Paris La Défense
À Paris La Défense, Tony Cragg installe son œuvre Senders. La verticalité de cette sculpture en colonne évoque Constantin Brâncuși (1876-1957) dans son approche unique de l’abstraction. Le propos n’est pas de copier ou représenter ce qui existe, mais découvrir quelles idées et quelles émotions peuvent être évoquées à travers l’utilisation de nouvelles formes et de nouveaux matériaux. « Son travail artistique montre une vision de l’être humain établie à travers sa relation à l’environnement […] et des outils que nous utilisons pour façonner le monde » Lynne Cooke, 2003
Senders :
2018, Fiberglass, 1 400 kg, 650 × 290 × 250 cm
Courtesy Tony Cragg et Galerie Thaddaeus Ropac, Londres Paris Salzburg Seoul
Tony Cragg was born in 1949 in Liverpool and lives and works in Wuppertal, Germany. He plays a leading role in the contemporary art world in the debate on the function and nature of sculpture: in his works he investigates the relationship between art and materials as well as art and science.
Before graduating from the Royal College of Art in London in 1977, he worked as a lab technician at a materials research institute, where he studied in detail the characteristics of materials. In 1979, he moved to Wuppertal and he began to teach at the Kunstakademie, Düsseldorf. At a time, when the artistic movements of Minimalism, Conceptual Art and Arte Povera were the cornerstones of avant-garde art, Cragg became one of the protagonists of the sculpture renewal. Early works of the 1970s were mostly made with found objects through which he created wall or floor installations, questioning the difference between painting and sculpture and testing techniques like stacking, splitting, and crushing. In later pieces his interest shifted to surface quality, manipulation and unlikely juxtapositions of materials, processing solid materials into fluid and dynamic shapes. In recent years, he has been exploring the contrasting ideas of compression and expansion in totemic structures where the presence of human profiles is often peripheral to the sculpture as a whole. Since the 80’s he has exhibited in numerous institutions of international importance, to mention the most recent: Aliyev Art Centre (2014), Baku; Milan Cathedral (2015); ADAA (2015), New York; Fondazione Berengo (2015), Venice; Galerie Thaddeus Ropac (2016), Paris; Hermitage Museum (2016), St. Petersburg; Lisson Gallery (2016), London. He was awarded the Turner Prize (1988); represented Great Britain in the 43rd Venice Biennale (1988); elected Royal Academician, Kunstakademie, Düsseldorf (1994); won 1st Prize for Best Sculpture, Beijing Biennale (2005); received an Honorary Doctorate, Royal College of Arts (2009), London; Artist’s Medal of Honor of the Hermitage (2012), St. Petersburg; and was knighted by Queen Elizabeth II for services to Visual Arts and UK-German Relations (2016).
Hermès expands in Pantin, luxury takes its place....The famous luxury brand Hermès took the gamble of setting up shop in Pantin (93). Since 1992, workshops, offices and a showroom have been located near the center of Paris. It is in buildings that respect the industrial past, luxury and well-being that Hermès expanded and created the Cité des métiers, awarded the Équerre d'argent d'Architecture prize in 2014.
Hermès leather goods workshops move to Pantin 1992: Hermès opened a branch in Pantin, in the Seine-Saint-Denis region, on rue Auger, a discreet street easily accessible by metro line 5 and just a few minutes from the heart of Paris. At that time, the leather goods workshops were set up in a post-industrial building redesigned by Rena Dumas. The space was soon insufficient and Hermès purchased the surrounding land with the idea of creating its own Cité des Métiers. 2010 : Le Petit h opens! It is a creative workshop between artists and craftsmen of the "house". At the beginning the idea was to create objects or works of art from "leftovers" impossible to sell for a defect invisible to the untrained eye. We work with silk, leather, porcelain, crystal... all noble, rare and sometimes precious materials. The craftsmen of the house make works of art which are gathered in Petit h - an art showcase appreciated by all. Little by little, all of Hermès' trades and talents are combined here: designer, saddler, leatherworker, dressmaker, carpenter, goldsmith, with the know-how and genius of great artists. After several years of work, the brand new glass and brick building was completed. Nearly 1,000 employees arrive at the Pantin site. A gigantic glass cathedral hall, 18 meters high, immediately brings you into the world of luxury, know-how and discretion. From the street you can catch a glimpse of this world. A showroom called Podium Hermès (near rue Montgolfier) was created. A sports hall for employees, a "leather school" and a daycare center were also built. It is already 40,000 square meters and will soon have nearly 1,500 employees.
In addition to the classic manufacture of belts, bags and trunks, it is the turn of the design of textiles (the very famous H square), jackets and tableware to be present in Pantin (at least in part because other manufacturing areas are installed in the south of France). Hermès calls on RDAI Architecture, which will integrate natural spaces, offices and workshops. The most important building stretches 120 meters along the pedestrian street facing the houses. It installs shared spaces: halls, cafeteria, meeting rooms. The architects have rethought the architectural signs of the suburbs: the houses, zinc roofs, window formats, grills... Beautifully crafted gates with finesse and strength are visible from the street. The four buildings created are in slabs and concrete walls (BBC and RT 2012 levels). The facade is dressed with solid bricks. Inside the block, the so-called "units" are linked by gardens designed by the landscape architect Louis Benech. Each garden has its own theme. A covered walkway, made of high performance concrete (HPC), crosses the entire site - it is a link between the buildings, the professions and the people.
The Hermès Foundation
The Fondation d'entreprise Hermès, created in 2010, invites artists to create works from materials used by the French fashion brand. The artists work in residence with the artisans of the fashion house. These "cartes blanches" create a dialogue between crafts and contemporary art. In 2022, the Fondation Hermès will present a retrospective exhibition for its 10th anniversary in Seoul, Tokyo and in Pantin at the Magasins Généraux with Les formes du transfert. Near rue Hoche and rue Auger. If you pass by the Hoche district in Pantin, don't miss the buildings of the Hermès company. From there you can take a pleasant walk from the Centre National de la Danse and stroll along the banks of the Ourcq canal to admire the architecture of the great mills of Pantin, the street art works or branch off in the direction of the Ropac gallery which offers free temporary exhibitions all year round. Consult our practical pages if you are looking for a hotel in Pantin or a restaurant near the Hermès workshops. Before you leave, be sure to stop by the Ernest & Valentin bakery located on Place Olympe de Gouges, opposite the Hermès site, where the Olympe de Gouge market takes place.
www.tourisme93.com/hermes-a-pantin-ateliers-bureaux-cite-...
Hermès International S.A., or simply Hermès (/ɛərˈmɛz/ (listen) air-MEZ, French: [ɛʁmɛs] (listen)), is a French luxury design house established in 1837. It specializes in leather goods, lifestyle accessories, home furnishings, perfumery, jewelry, watches and ready-to-wear. Its logo, since the 1950s, is of a Duke carriage with horse.Thierry Hermès was born in Krefeld, Germany, to a French father and a German mother. The family moved to France in 1828. In 1837, Hermès first established a harness workshop in the Grands Boulevards quarter of Paris, dedicated to serving European noblemen. He created high-quality wrought harnesses and bridles for the carriage trade,[5] winning several awards including the first prize in its class in 1855 and again in 1867 at the Expositions Universelles in Paris. Hermès's son, Charles-Émile, took over management from his father in 1880 and moved the shop to 24 rue du Faubourg Saint-Honoré, where it remains. With the help of his sons Adolphe and Émile-Maurice, Charles-Émile introduced saddlery and started selling his products retail.[5] The company catered to the élite of Europe, North Africa, Russia, Asia, and the Americas. In 1900, the firm offered the Haut à Courroies bag, specially designed for riders to carry their saddles with them. After Charles-Émile Hermès's retirement, sons Adolphe and Émile-Maurice took leadership and renamed the company Hermès Frères. Shortly after, Émile-Maurice began furnishing the tsar of Russia with saddles. By 1914, up to 80 saddle craftsmen were employed. Subsequently, Émile-Maurice was granted the exclusive rights to use the zipper for leather goods and clothing, becoming the first to introduce the device in France. In 1918, Hermès introduced the first leather golf jacket with a zipper, made for Edward, Prince of Wales.[6] Because of its exclusive rights arrangement the zipper became known in France as the fermeture Hermès (Hermès fastener). Throughout the 1920s when he was the sole head of the firm, Émile-Maurice added accessories and clothing collections. He also groomed his three sons-in-law (Robert Dumas, Jean-René Guerrand, and Francis Puech) as business partners. In 1922, the first leather handbags were introduced after Émile-Maurice's wife complained of not being able to find one to her liking. Émile-Maurice created the handbag collection himself. In 1924, Hermès established a presence in the United States and opened two shops outside of Paris. In 1929, the first women's couture apparel collection was previewed in Paris. During the 1930s, Hermès introduced some of its most recognized original goods[3] such as the leather "Sac à dépêches" in 1935 (later renamed the "Kelly bag" after Grace Kelly) and the Hermès carrés (square scarves) in 1937. The scarves became integrated into French culture. In 1938, the "Chaîne d'ancre" bracelet and the riding jacket and outfit joined the classic collection. By this point, the company's designers began to draw inspirations from paintings, books, and objets d'art. The 1930s also witnessed Hermès's entry into the United States market by offering products in a Neiman Marcus department store in New York; however, it later withdrew. In 1949, the same year as the launch of the Hermès silk tie, the first perfume, "Eau d'Hermès", was produced. From the mid-1930s, Hermès employed Swiss watchmaker Universal Genève as the brand's first and exclusive designer of timepieces, producing a line of men's wrist chronographs (manufactured in 18K gold or stainless steel) and women's Art Déco cuff watches in 18K gold, steel, or platinum. Both models contained dials signed either "Hermès" or "Hermès Universal Genève", while the watch movements were signed "Universal Genève S.A.". The Hermès/Universal partnership lasted until the 1950s. Émile-Maurice summarized the Hermès philosophy during his leadership as "leather, sport, and a tradition of refined elegance. Robert Dumas-Hermès (1898–1978), who succeeded Émile-Maurice after his death in 1951, closely collaborated with brother-in-law Jean-René Guerrand. Dumas became the first man not directly descended from Hermès père to lead the company because his connection to the family was only through marriage. Thus, he incorporated the Hermès name into his own, Dumas-Hermès. The company also acquired its Duc-carriage-with-horse logo and signature orange paper boxes in the early 1950s. Dumas introduced original handbags, jewelry, and accessories and was particularly interested in design possibilities with the silk scarves. During the mid-20th century, scarf production diminished. World Tempus, a Web portal dedicated to watchmaking, states: "Brought to life by the magic wand of Annie Beaumel, the windows of the store on the [rue du] Faubourg Saint-Honoré became a theatre of enchantment and [established the store as] a Parisian meeting-place for international celebrities."In 1956, Life magazine featured a photograph of Grace Kelly, who had become the new Princess of Monaco, carrying the "Sac à dépêches" bag. Purportedly, she held it in front of herself to disguise her pregnancy. Thus, when the public began calling it the "Kelly" bag, a name subsequently adopted by Hermès, it became hugely popular. The perfume business became a subsidiary in 1961, concurrently with the introduction of the "Calèche" scent, named after a hooded four-wheeled horse carriage, known since the 18th century, and is also the company's logo since the 1950s. In 2004, Jean-Claude Ellena became the in-house perfumer or "nose" and has created several successful scents, including the Hermessence line of fragrances. Despite apparent success in the 1970s, exemplified by multiple shops having been established worldwide, Hermès declined relative to its competitors. Industry observers attributed this decline to Hermès' insistence on exclusively using natural materials for its products, a differentiation from competitors that were using new, synthetic materials. A two-week lapse in orders exemplified this shift: the Hermès workrooms were silent.[ A market shift from artificial ingredients back to natural materials renewed demand for Hermès' fragrances and improved the company’s prospects, contributing to the re-establishment of Hermès as a major player in the fragrance industry. Jean-Louis Dumas, the son of Robert Dumas-Hermès, traveled extensively, studying in the buyer-training program at Bloomingdale's, the New York department store, and joined the family firm in 1964. He became chairman of Hermès in 1978 and concentrated the firm on silk, leather goods, and ready-to-wear, augmenting traditional techniques with new product lines. This transition was instrumental in turning around Hermès’ decline. Dumas brought in designers Eric Bergère and Bernard Sanz to revamp the apparel collection and, in collaboration, added unusual entries. They included the python motorcycle jackets and ostrich-skin jeans, which were dubbed as "a snazzier version of what Hermès has been all along." (Annual sales in 1978, when Jean-Louis became head of the firm, were reported at US$50 million. By 1990, annual sales were reported at US$460 million, mainly due to Dumas's strategy.) In 1979, he launched an advertising campaign featuring a young, denim-clad woman wearing an Hermès scarf. The purpose was to introduce the Hermès brand to a new set of consumers. As one fashion-sector observer noted: "Much of what bears the still-discreet Hermès label changed from the object of an old person's nostalgia to the subject of young peoples' dreams."However, Dumas's change-of-image created outrage both within and outside of the firm. Also in the 1970s, the watch subsidiary, La Montre Hermès, was established in Bienne, Switzerland. Then, throughout the 1980s, Dumas strengthened the company's hold on its suppliers, resulting in Hermès's gaining great stakes in prominent French glassware, silverware acquiring venerable tableware manufacturers such as Puiforcat, St. Louis, and Périgord. From the 1980s, tableware became a strong segment of the firm. And, overall, the collection of Hermès goods expanded in 1990 to include over 30,000 pieces. New materials used in the collection included porcelain and crystal. Hermès relocated its workshops and design studios to Pantin, just outside Paris. By June 1993, Hermès had gone public on the Paris Bourse (stock exchange). At the time, the equity sale generated great excitement. The 425,000 shares floated at FFr 300 (US$55 at the time) were oversubscribed by 34 times. Dumas told Forbes magazine that the equity sale would help lessen family tensions by allowing some members to liquidate their holdings without "squabbling over share valuations among themselves." To this time, the Hermès family was still retaining a strong hold of about 80% in stocks, placing Jean-Louis Dumas and the entire family on the Forbes list of billionaires. Mimi Tompkins of U.S. News & World Report called the company "one of Paris' best guarded jewels." In the following years, Dumas decreased Hermès franchises from 250 to 200 and increased company-owned stores from 60 to 100 to better control sales of its products. The plan was to cost about FFr 200 million in the short term but to increase profits in the long term. Having around FFr 500 million to invest, Hermès pressed ahead, targeting China for company-operated boutiques, finally opening a store in Beijing in 1996. In 1997, Jean-Louis hired iconoclastic Belgian designer Martin Margiela to supervise women's ready-to-wear.
By the late 1990s, Hermès continued extensively to diminish the number of franchised stores, buying them up and opening more company-operated boutiques. The fashion industry was caught off guard in September 1999, when Jean-Louis decided to pay FFr 150 million for a 35% stake in the Jean-Paul Gaultier fashion house.[4] In the latter part of the 1900s, the company encouraged its clientele to faites nous rêver (make us dream), producing throughout the period artistically atypical orders. In 2003, Margiela left Hermès, and highly controversial Jean-Paul Gaultier, as the head designer, debuted his first ready-to-wear collection for fall/winter 2004–05. After 28 years as head of the firm, Jean-Louis Dumas retired in January 2006. Known for his charm and one of Europe's greatest authorities on luxury, he died in 2010 after a long illness. Patrick Thomas, who had joined the company in 1989 and who had worked with Jean-Louis as the co-CEO from 2005, replaced him. Thomas became the first non-Hermès family member to head the company. In February 2015, Hermès has announced an increase of its turnover of 9.7%, which represents more than €4 billion in sales. This increase is internationally visible. In Asia, excluding Japan, where the turnover grew 7%, in America, with 10% rise, in Europe where it grew 7% growth and generated a good performance in the group's stores. In March 2018, Hermès opened a multi-story shop at the Dubai Mall, their largest to date. In 2019, the brand was ranked 33rd in the Forbes List "World's Most Valuable Brands".
The 2021 review of WIPO's annual World Intellectual Property Indicators ranked Hermès 7th in the world for the 68 industrial design registrations that were published under the Hague System during 2020. This position is significantly up on their previous 15th place ranking for their 27 industrial design registrations published in 2019. The designers throughout the company's history have included Lola Prusac, Jacques Delahaye, Catherine de Karolyi, Monsieur Levaillant, Nicole de Vesian, Eric Bergère, Claude Brouet, Tan Giudicelli, Marc Audibet, Mariot Chane, Bernard Sanz, Martin Margiela, Jean-Paul Gaultier, Christophe Lemaire, Véronique Nichanian (the men's-wear designer since 1988), and Nadège Vanhee-Cybulski (since 2014 succeeding Lemaire). Known for luxury goods, by 2008, Hermès had 14 product divisions that encompassed leather, scarves, ties, men's and women's wear, perfume, watches, stationery, footwear, gloves, enamelware, decorative arts, tableware, and jewellery.
Hermès sales compose about 30% leather goods, 15% clothes, 12% scarves, and 43% other wares. The company licenses no products and keeps tight control over the design and manufacture of its vast inventory. The firm is very attached to its traditional business model and rejects mass production, assembly lines, and mechanization. Hermès's goods are almost entirely made in France by hand in middle-sized workshops known as Les Ateliers Hermès that emphasise high-quality manufacturing. Indeed, Hermès claims most items are fabricated from beginning to end by only one person, which is supposed to guarantee the quality and uniqueness of its products. In 2012, Hermès retail outlets changed their policy regarding returns and exchanges of products. Consumers may only exchange items within ten days of purchase and only for another color variant of the original purchase. No other post-purchase exchanges are permitted, and refunds are never offered, regardless of the consumer's having a receipt. The scarf or carré (square) was introduced in 1937. The first example was a 70 cm x 70 cm print of white-wigged females playing a popular period game, a custom-made accessory named "Jeu des Omnibus et Dames Blanches."[4] Hermès oversaw the production of its scarves throughout the entire process, purchasing raw Chinese silk, spinning it into yarn, and weaving it into fabric twice as strong and heavy as most scarves available at the time. The company's scarf designers spend years creating new print patterns that are individually screen-printed. Designers can choose from over 70,000 different colors. When production first began, a dedicated factory was established in Lyon, France, the same year that Hermès celebrated its 100th anniversary. Contemporary Hermès carrés measure 90 cm × 90 cm, weigh 65 grams and are woven from the silk of 250 mulberry moth cocoons. All hems are hand-stitched. Motifs are wide-ranging, Two silk-scarf collections per year are released, along with some reprints of older designs and limited editions. And two collections per year are introduced in a Cashmere/silk blend. Since 1937, Hermès has produced over 2,000 unique designs; the horse motif is particularly famous and popular.[17] The ubiquitous "Brides de Gala" version, introduced in 1957, has been produced more than 70,000 times. An Hermès scarf is sold somewhere in the world every 25 seconds; by the late 1970s, more than 1.1 million scarves had been sold worldwide. In 1946, the brand introduced a range of men's silk neckties in an array of motifs and widths. Neckties account for 10% of the company's annual sales.For years, Hermès has partnered with Tuareg tribesmen for silver jewelry. The Saharan nomads' traditional motifs are often mirrored in various Hermès products, including scarves. Hermès is known for its handmade luggage and handbags. One of them might require 18 to 24 hours to produce. The construction of each Kelly bag, for example, requires 18 hours to fully realize. Hermès's leathers come from all over the world. Customers may currently wait from six months to one year for delivery of one of the house's signature bags.
Incidentally, should Hermès's leather goods require repair, owners can bring an item to any Hermès store, where it will be shipped to Les Ateliers Hermès in Pantin for repair or reconditioning.
Another famous Hermès handbag, the "Birkin bag", was named after British actress Jane Birkin. In a chance encounter with Jean-Louis Dumas, she complained that her bag was not practical for everyday use. Consequently, he invited her to France where they co-designed the bag in 1984. Birkin has since stopped carrying her namesake bag due to her tendonitis, as the bag became too large and heavy for her to carry. Asked by her that her name be removed and with much back-and-forth comments about various issues such as having her name removed. According to Vogue: "Jane Birkin 'is satisfied by the measures taken by Hermès', according to the brand, following an investigation by the fashion house [that refuted] claims made by PETA that its famous Birkin bags were being 'constructed from the skins of factory-farmed and cruelly slaughtered crocodiles.' "
In 2021, the Farm Transparency Project released video footage from three Australian crocodile farms owned by Hermès, which showed the small cages and concrete floors the animals live on and how they are slaughtered, including by stabbing and electrocution.
TONY CRAGG – Senders, 2018
TONY CRAGG
Né en 1949, à Liverpool, Royaume-Uni. Vit et travaille à Wuppertal, Allemagne.
Tony Cragg commence ses études au Gloucestershire College of Art and Design, avant de suivre l’enseignement du Royal College of Art de Londres en 1973. Dès 1979 il enseigne à l’Académie des arts de Düsseldorf, où il devient professeur en 1988 et reçoit le Turner Prize. En 2001, il est nommé professeur de sculpture à l’Académie des arts de Berlin. Depuis 1994, il est membre de l’Académie royale des arts de Londres et, depuis 2002, de l’Académie des arts de Berlin. En 2007, Cragg reçoit le Praemium Imperiale et en 2009, il succède à Markus Lüpertz en tant que recteur de l’Académie des arts de Düsseldorf (jusqu’en 2013). En 2013 et 2014, Cragg enseigne au Collège de France à Paris. Tony Cragg se considère comme un matérialiste radical, en constante recherche de nouveaux matériaux dont il explore et développe les possibilités. Il a fréquemment utilisé des techniques telles que l’empilement, la superposition et l’amoncellement de différents types de rebuts et d’objets du quotidien, leur donnant une interprétation inattendue. Celles-ci rappellent des formes géologiques naturelles, comme la sédimentation de particules minérales pour créer des strates ou encore l’altération de la roche par les forces du vent et de l’eau. Les œuvres récentes suggèrent quant à elles le mouvement et le caractère éphémère des éléments, comme dans ses formes en acier inoxydable qui évoquent la fluidité du métal en fusion.
L’œuvre pour Paris La Défense
À Paris La Défense, Tony Cragg installe son œuvre Senders. La verticalité de cette sculpture en colonne évoque Constantin Brâncuși (1876-1957) dans son approche unique de l’abstraction. Le propos n’est pas de copier ou représenter ce qui existe, mais découvrir quelles idées et quelles émotions peuvent être évoquées à travers l’utilisation de nouvelles formes et de nouveaux matériaux. « Son travail artistique montre une vision de l’être humain établie à travers sa relation à l’environnement […] et des outils que nous utilisons pour façonner le monde » Lynne Cooke, 2003
Senders :
2018, Fiberglass, 1 400 kg, 650 × 290 × 250 cm
Courtesy Tony Cragg et Galerie Thaddaeus Ropac, Londres Paris Salzburg Seoul