Nadège Vanhée-Cybulski wore no make-up and is incredibly demure and down-to-earth in conversation, so after meeting her five years ago at Café Select in New York City it surprised us to learn that she worked in fashion as a design director for some fine blue-chip brands: Celine, The Row and for Martin Margiela. After her initial meeting with Aleim, Nadège stayed in touch, but suddenly she disappeared and left New York. We heard she moved back to Paris, but in typical Nadège fashion, she did not email-blast her latest achievements nor did she send contact details from her new job account. It wasn’t until Aleim happened to run into her a couple of years ago in London at Frieze that we learned she had ascended to a position of tastemaking-god status, as the creative director of Hermès— the world’s top luxury brand.
This rise to power, and the graceful way she wears it makes her an extremely intriguing character in today’s fashion world, which seems at all times to be burgeoning with big spotlight-grabbing personalities. It turns out that Nadège was born and raised in Lille, a cultural hub in northern France bordering Belgium. She describes herself as Flemish, and she studied fashion at the renowned Royal Academy of Fine Arts in Antwerp, whose talented alumni include Margiela and Raf Simons.
The Antwerp Academy views fashion as an expression of the emotions of our times. Clothing reflects society or, adversely, questions it. Fashion people are not a self-absorbed clique, but committed artists who examine prevailing concepts of ethics and aesthetics, and take a stand on matters of aggression, rejection, denial, and helplessness. This philosophy was the backdrop for Nadège’s education as she formed her design ideology and made the first moves to define her talent.
As evidenced by the high turnover of key personnel in fashion, along with the lawsuits, racially insensitive design tropes and constant insider buzz around interpersonal drama, top leadership in powerhouse brands can be high-pressure, and a successful tenure is often ephemeral. In this landscape, Hermès makes efforts to maintain stability and keep the focus on the quality of its collections. Its creative directors are still considered to be parts of a team rather than celebrity guest-stars, a perfect fit for Nadège, with her refined mystique. She recently told T Magazine “We never talk about luxury inside Hermes. We talk about intelligence” Nadege was kind enough to open up and share her thoughts in the following interview.
Can you tell us about your professional path?
I have always been drawn to aesthetics and somehow this interest has focused onto fashion. I discovered at an early age a fascination for couturiers, suits, the craft of tailoring, textiles…I was always intrigued (and still am) by how and why men and women manifest through clothes their individuality, their beauty.
What was the biggest learning curve of your job at Hermès and how did you deal with it?
The house has an international reputation; as a consequence the spectrum of the public is quite diverse in terms of taste and desires. That was for me the biggest challenge, a broader projection than I had from my previous jobs: understanding and relating to different cultures, habits, reflexes. I had to answers riddles in terms of fits and materials. The good thing is that everyone will acknowledge the quality and expertise that emanates from each Hermès object. This was definitely a beacon for my work. And through this lens I could translate my vision, being faithful to my values and enriching it.
Do you have a daily creative practice?
Yes, it’s actually inherent to my metabolism! I spend most days of the week at the studio. There’s not one day similar to the next. Researching, studying the archives, developing fabrics, fittings, composing silhouettes or projecting concepts for future collections. The creative process is fluid and constant.
Do you have a specific design philosophy?
One of my pillars in design is the maxim of the Bauhaus: “the object should be at once beautiful and functional, practical, balanced in the choice of colors as well as the material.” As a fashion designer, I absolutely relate to this. I also search for the challenge, avoiding the obvious stereotype of the classic silhouette.
How do you come up with your ideas for a collection?
It’s layered. I have ideas that are leitmotifs: the concept of a neo-classic silhouette, the equestrian roots, the Hermès totems (the blanket and the bag locks for instance); they are perennial ideas. Then an intuitive approach comes and juggles theses axes. It’s a projection of women’s feelings and needs; a visual narration takes form from my readings, art works, conversations, sketches or drapes.
Your design practice consists of working on a variety of collections, it also has a management side, how do you keep on top of everything?
I sincerely enjoy working in a team. I have the chance to have experts around me; it would be a pity to spoil this opportunity. We are very close with the studio team and work on different projects and deadlines and therefore it’s very organized. There is a moment where I compose the concept alone but rapidly I like to test its boundaries and have it evolve collaboratively.
Has your minimalist aesthetic changed from your days at Celine and Margiela now that you are in your fourth year at Hermès?
The aesthetic has evolved. When you are designing for a heritage brand the focus is about evolution. The house of Hermès doesn’t need a reboot; it’s solid, nourishing its roots by a perpetual innovation. To be clear, I am more of a purist: searching for genuine material and creation, defining a sharp and precise silhouette with refinement and elegance but always with a relaxed attitude. With Hermès, you can’t be minimalist; you have to, of course, be thoughtful but generosity is crucial.
How has working for Hermès differed from all the other design houses that you worked for?
I would say the dimension of the desirability.
What other art forms do you enjoy? Is there one in particular that inspires your work?
There are a few art forms that inspire me. I love to cross reference different mediums: paintings with literature, art essays. The paintings of Peter Doig resonate deeply when I think of sensations and colors.
Who are your influences in general?
I hold a special admiration for the Artists Josef Albers and Anni Albers. Their life as a couple and also Josef’s influences at the Black Mountain College: educating the soul through different artistic practices.
You lived in New York City for many years, do you miss it? If yes, what do you miss about it?
The idea that everything is possible… you just have to roll up your sleeves and do it!
What is a quiet day in Paris like for you? What do you do when you are not working and where do you go?
A simple ritual: the farmers market.