Nichanian bid farewell to Hermès with a collection that captured the essence of the house. After 37 years at the helm of menswear, she presented her final runway show with the same clarity and conviction that defined her tenure – Grace Wales Bonner was appointed the new Creative director of the house last October 2025. The collection featured glossy crocodile suits, shearling bombers in coral pink, and meticulously crafted leather pieces that reminded observers why Hermès is at the top of the luxury fashion industry.
| 📌 Key Facts |
|---|
| 🏛️ House: Hermès 🧵 Designer: Véronique Nichanian 🕰️ Tenure at Hermès: 37 years (1988-2026) 🍂 Collection: Hermès Menswear Fall 2026 🧥 Key materials: Leather, shearling, crocodile, suede ✈️ Main inspiration: Aviation and Antoine de Saint-Exupéry 🧠 Core philosophy: Durability over trends 🐢 Final message: “Slow down” |
Nichanian holds an unusual distinction: She served longer than any other creative director currently working at a major fashion house. Only Karl Lagerfeld’s decades at Fendi surpassed her tenure. Yet, she chose to leave on her own terms, declining requests from Hermès CEO Axel Dumas to extend her stay. She wanted time to travel, live elsewhere, and pursue projects beyond seasonal collections. This decision reflected her straightforward approach to design and life.
The collection itself functioned partly as a retrospective. Nichanian pulled pieces from her archive, some of which dated back more than three decades. One example was a leather jumpsuit with a biker collar from fall 1991. The shearling-lined calfskin blouson came from 2004. An aviator jacket made from suede deerskin was first introduced in 2001. Nichanian wanted to demonstrate the durability of well-made clothing and its ability to transcend trends and remain wearable over the years. This concept felt revolutionary precisely because fashion typically obsesses over novelty rather than longevity.
Aviation imagery was woven throughout the presentation. The models wore caps with earflaps and coats with stand-up leather collars secured by buckles. They also carried boxy overnight bags in sky blue, olive, and brown. These references called to mind Antoine de Saint-Exupéry, the pilot and writer whose connection to French culture runs deep. Military-style jumpsuits appeared in glossy crocodile and smooth leather. They looked striking, though their practicality for actual flying remained questionable.
Nichanian excels at surface treatment, a skill she deployed throughout the presentation. She sewed small squares of leather onto long scarves in contrasting colors. Patchwork sweaters incorporated varied textures. Plaid sweaters gained unexpected zipper details. Turtlenecks featured blurry floral prints, and those same delicate flowers bloomed subtly across the backs of gray tailored suits. These techniques showcased craftsmanship without drawing attention to it, allowing quality materials to speak through careful construction.
Follow all the latest news from Fashionotography on Flipboard, or receive it directly in your inbox with Feeder.
You might also read
The shearling pieces were some of the most memorable in the collection. Two coats were made of fleece that was dyed an unusual coral pink and caught the light beautifully. Shearling overshirts with stripe embroidery came in that distinctive color, too. Some shearlings were lined with fur resembling pink grapefruit, while others appeared in icy white. The house gave Nichanian unusual freedom to experiment with materials and techniques – a luxury that most designers never experience.
Orange-soled ankle boots provided consistent visual punctuation across different looks, grounding the entire collection. They will likely become highly sought after, joining other Hermès accessories that accumulate value beyond their initial purchase price. The company excels at creating objects that function as both fashion items and investment pieces.
Backstage, Nichanian spoke with her characteristic directness. She expressed pride in her work, noting how hard she labored and how much passion she brought to the role. She defined Hermès menswear as clean lines, honest construction, and careful attention to detail. She never wavered from that vision. When asked why she chose mirrored crocodile for her final runway look, which she paired with slim black silk pants and a high-necked sweater, she answered simply, “Because it was fun.”
Friends attended to mark the occasion. Paul Smith, who had known Nichanian for 37 years, came to Paris specifically to say goodbye. He admired her steadiness and how her work remained relevant across decades. The house paid tribute by screening clips of her runway bows throughout the years, showcasing an extraordinary span of consistency in an industry known for its rapid turnover.
The farewell event underscored the rarity of her tenure. Few designers today have the opportunity to develop a vision over decades. Brand owners increasingly prefer rapid change and frequent creative reshuffles. Hermès was an exception, trusting Nichanian to gradually develop and refine her aesthetic. This approach produced a coherent body of work rather than disconnected seasonal statements.
When asked what the industry needed most, Nichanian offered parting advice. Her answer required just two words: “Slow down.” This advice was particularly apt coming from someone who had proven that patience and long-term thinking could generate both critical respect and commercial success. She built the Hermès man through incremental refinement rather than dramatic reinvention.
