First, there was the ascension. Individual black SUVs collected guests and transported them 900 winding feet above sea level into the Santa Monica Mountains, to the top of Canyon Vista Hill next to the Getty Museum. The setting – classical, massive columns – vaguely resembled the Parthenon. Big letters announced the show’s title: “Silhouettes on the Horizon.” Inside, artistic director Nadège Vanhee was about to unveil the second chapter of her fall-winter 2026 collection (the first chapter debuted in Paris in March).
Outside of those towering columns, the crowd itself was a fashion show. This wasn’t your typical Los Angeles front row group: These were young female customers loyal to Hermès, dressed in printed silk coats with the brand’s signature silk scarves, perforated leather dresses, leather shorts with matching jackets, and Hermès riding boots paired with everything. And a literal wealth of Kelly bags. Perkins appears to have been banished to the back of the closet. Mini Kelly sets, in all sizes and colours, wrapped in classic Hermès scarves – some barely large enough to wear lipstick – came out in droves. Many guests had little Kelly charms hanging from their mini Kellys: Kelly à deux. Big crowd of money with low level position.
British, French, and New York editors mingled with Hollywood stylists—Jane Yang among them—while a group of celebrities (a rare sight for Hermès, which almost never wears them) joined the pre-show scene: Kerry Washington, Julia Louis-Dreyfus, Miley Cyrus, Natasha Lyonne, and Keke Palmer (in a red bra with matching jeans), the entire group flanked by none other than Hollywood reality TV elder stateswoman Kathy Hilton. “I never dressed like that in New York that day!” laughed Lyonne, as she walked around in a leather corset and jeans. Hermes Miley made pure Miley in a sleeveless leather mini and high-heeled boots, flanked by her fiancé Max Morando, drummer for the band Liily – pure punk rock.
As the show began, the striped light of the golden hour enhanced Hermes’ luxurious fabrics: soft leather, suede, silk, chiffon, and every look was monochromatic from head to toe — black, brown, poppy red, a shock of very California colors, buttery yellow and aqua. A yellow strapless dress with an egg-shaped skirt, matched with suede riding boots? It seems unlikely. It seemed unbelievable. Model Karen Elson, a redhead who has been absent from the runways for years, wore a fiery red version. Black leather belts like bra tops, paired with long, sheer chiffon skirts and tall boots, added a luxurious feel.
In her program notes, Vanhee described the powerful combination as “an interplay of tension and release” – expanding Hermès’ craftsmanship beyond its heritage of leather and silk to… Flo (Fashion is about flow). There were sleek leather suits, fitted leather jackets paired with midi skirts, leather trousers, and plenty of dancer-inspired looks. But with minimal hair and makeup, these outfits would be as appropriate for Los Angeles cabaret kids as they are for Park Avenue bosses. The hippie Highbrow Topanga Canyon looked as inspiring as French chic.
In her post-runway walk, Vanhee didn’t back away as quickly as the tepid Jonathan Anderson did a few weeks ago at Dior. Her curly red hair was bouncing as she ran along the winding runway, defying the conventions of European designer retreats.
Then the crowd descended, and they found themselves in a much more familiar Los Angeles scenario: SUVs trying to crawl back down the hill blocking narrow roads, turning what should have been a smooth exit into an angry hour-long wait — two hours for some. You expect gridlock after the Golden Globes, not after the Hermès show.
oh well. It’s only added to the feeling that Hermès is becoming more comfortable with the Left Coast — and that Hollywood is embracing the brand’s surprising new vibe. If you see flat riding boots with leather pants at cocktail parties this summer, at the Hollywood Bowl, or at Taylor Swift, don’t be surprised.
