Name: Hermès' Womenswear Designer Worked At Celine, The Row and Doesn’t Like ‘Quiet Luxury’
Uploaded: 2025-10-27T16:00:00Z
Duration: 6 min 47 s
Description: Hermès' Womenswear Designer Nadège Vanhée sits down for The Job Interview with WSJ. Magazine to discuss how she designs for one of the house’s fastest growing divisions, why she sees Hermès as rebellious and the advice Martin Margiela gave her.

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Hermès' Womenswear Designer Nadège Vanhée sits down for The Job Interview with WSJ. Magazine to discuss how she designs for one of the house’s fastest growing divisions, why she sees Hermès as rebellious and the advice Martin Margiela gave her. Photo Illustration: Marius Dahl

https://m.wsj.net/video/20251027/3c06b35c-42ee-4162-9f06-9f112a40a5cd/2/hls/manifest-hd-wifi.m3u8

Hermès' Womenswear Designer Nadège Vanhée sits down for The Job Interview with WSJ. Magazine to discuss how she designs for one of the house’s fastest growing divisions, why she sees Hermès as rebellious and the advice Martin Margiela gave her.

Hermès' Womenswear Designer Worked At Celine, The Row and Doesn’t Like ‘Quiet Luxury’

I find it boring, quiet luxury, to be honest with you. Even though I have a white sweater, I don't want to design quiet luxury.

Hello.

Hello.

Interviewer: Welcome to your job interview.

Thank you.

Interviewer: Okay, let's get started. Nadege, you have the kind of career that women in fashion school dream of. You worked alongside Martin Margiela, known for his Tabi shoes, collaborated with Phoebe Philo during her iconic tenure at Celine, served as the design director in the early years of the Olsons' label The Row, and now you're the artistic director of women's ready-to-wear at Hermes where you've quietly powered one of the House's fastest-growing divisions. What's the key to your success?

I guess it's I don't give up.

Interviewer: When do you first remember hearing the word Hermes?

It's quite present in the French landscape. People know Hermes because of the bag, because of the perfume, the tie, the silk carre. For me, it was really connected with the scarf of my mom.

Interviewer: Where were you when Hermes called with the offer of artistic director in 2014?

Far away from fashion. I was in Japan, in Okinawa. It took me two phone calls to really realize that it was Hermes. I was like, "Seriously?" And I said, "Oh, let me think about it," you know? And then I was just like, oh my God, this was really the people of Hermes. You know, it's not a prank. It's really an amazing offer. There's this aura of mystery and therefore when it's mysterious, it's not really reachable. So I never kind of project myself at Hermes.

Interviewer: Was there a specific challenge the House wanted you to accomplish?

The direction is quite elegant and discreet and free, and I think once they understand that you share the values, they're like, "Okay, show us what it's all about."

Which collection are you most proud of?

I'm very proud of a project that happened during COVID where we developed a triptych. We had a performance in New York, one performance in Paris, and one performance in Shanghai. And the collection was done remotely. We all underwent the COVID restrictions. So I think it was a victory.

Interviewer: Hermes began as a horse saddle maker, and the influence can still be felt today. What have you had to learn about horses during your tenure at Hermes?

Well, not riding horses yet, but definitely about horse coats. There are so many different species of horses and it has been a very interesting road to see and to develop colors from horses, right? It's a vector of community, of culture. Horses have been very instrumental to humankind.

Interviewer: I know you've become well acquainted with leather. Tell me a little bit about that.

I worked previously with leather, but not to this standard. So you really start to acquire certain vocabulary. You start to have a eye, but you also start to develop a hand, and it's in the hand that you kinda understand, okay, this is the perfect material for a coat or for a jacket. Oh, we could kind of stretch it to a different technique. You know, I wanted to reintroduce some very old-school traditions in the leather goods to the ready-to-wear. But I also wanted to bring the skills of flow or draping or lightness to a level where you would not even imagine that it's leather. We even managed to apply leather on knitwear mesh, which is as light as the weather, the weather, a feather.

Interviewer: What stood out to you as uniquely Hermes from the beginning?

Well, first of all, you work to an atelier, which is not a studio. The studio is really where you have the designers where they develop the concepts or it's more about sketching, draping. But in workshop, you have the leather, the materials, you hear the hammer clinking, you hear the machine working. Things are created on site.

Interviewer: Quiet luxury has become a bit of a buzzword over the past few years. What are your thoughts on the term?

I find it boring, quiet luxury, to be honest with you. Even though I have a white sweater, I don't want to design quiet luxury. And that's why, I mean, I never actually think of luxury first, you know? I think about sophistication and attractability, you know? I don't wanna disguise something with luxury. I'm quite, you know, wary of the word luxury.

Interviewer: I wanna go back to the beginning. Were you taught any fashion rules by your parents when you were a kid?

Red was not matching with red hair.

Who told you that?

My mom. That was really her... A big kind of guidelines and I was just like, "Oh." When I was a bit more older, I saw this very badass, badass dress. It was red with black pattern, and I was like, "Oh my God, this is a dress." And it was red. And I started since then to collect those little red dress.

Interviewer: You previously described yourself as a punk. Why do you identify as that?

I always think of the reference of straightforwardness. Of course, with a punk, you think of rebellion, but it's really about freedom and doing what you want, yeah.

Interviewer: On first glance, that seems rather contradictory to the classic nature of Hermes, but is it?

There's definitely a rebellious side with the House of Hermes in terms of like not wanting to chase the trends. It always has been a house which is focused on their own way, their own style. And I find it quite rebellious too.

Interviewer: Before Hermes, you worked with a bunch of different designers. Who has been your greatest mentor?

Andre Walker, American designer. I had a very quick experience with him. Moved to Paris. I started school and I had this opportunity to work on his fashion show and it was so interesting to see someone who has such groundbreaking ideas and a great sense of proportion and class and humor. That was really cool. Yeah.

Interviewer: Margiela was also at Hermes, correct?

Yeah.

Interviewer: Did he give you any sort of advice when you were coming here?

Yes. He said, "Nadege, really be sensible with the archives. Choose well, but also make sure that you have everything. Really cultivate your archival gesture."

Interviewer: You've been at Hermes for 10 years now. What's kept you here?

Passion.

Interviewer: Did you think you'd be in this moment when you were in fashion school?

No, no, no, no. I think I was really arty. You know, I studied in Antwerp. It's a fine art academy and fashion is a more artistic expression than a business expression. But it's not business here, it's different. It's craftsmanship. Yeah.

Interviewer: What would you tell a young designer in fashion school today?

Don't be hard with yourself, you know? Don't be hard with yourself. Keep it open, discover, play 'cause then it's becoming a job, and in the job, then you need to do, you know, certain compromise. So it's really a moment of exploration.

Interviewer: You've previously said you wanted to discover the hidden face of Hermes. Have you?

No, it's still a mystery and that's why it's exciting. It's almost like you don't want to discover everything. You wanna keep things a bit undercover for, you know, pushing it further.