It feels like the "Love LA" vibe has surrounded so many brands this season, and this time Hermès goes golden. Hermès took its turn in the city, leaning instead into the magnetic energy that can only be captured in an LA golden hour moment. The French maison picked Bel Air for its stage, and the choice felt glamorous, residential and very much "dance-core".
This was the third iteration of Vanhée's Chapter Two format, which is basically a travelling extension of the F/W collection that she's taken to New York and Shanghai in previous years, each city unlocking a different side of her creative vocabulary. Where Paris in March was grounded in the house's equestrian DNA — structured, earthy, and rooted — Los Angeles demanded something else entirely. Vanhée answered with dance. The collection, titled Silhouettes on the Horizon, pulled its energy from the language of ballet: the ease of a body in motion, the contrast between softness and control, the idea that the most precise things can also feel completely free.
The clothes themselves moved the way LA light does: fluid, warm, hard to pin down. Dresses dominated in a way that felt genuinely new for the house, with silks and satins doing the heavy lifting where leather usually would. The palette tracked the sky from golden hour to midnight: buttery yellows and cherry reds giving way to deep blacks and glittering velvets as the show closed. It never felt costume-y, which is the risk when dance is your reference. On the accessories front, the leather goods landed with their usual quiet authority — structured shapes in the house's signature skins, carried with the kind of ease that makes you forget how much they cost. The Plume made a comeback, the Picotin got a new treatment, and the Kelly bags in the front row arguably competed with the ones on the runway. At Hermès, that's never really a problem.
