Hermès stages Fall/Winter 2026 in Bel Air

Hermès brings – Hermès brought its Fall/Winter 2026 show Westside to Bel Air, framing craftsmanship through dance and performance. Nadège Vanhée’s chapter of the collection unfolded in California golden-hour light, with guests including Miley Cyrus, Keke Palmer, Julia-Louis D

The flight was the easy part. The hard part—making it feel inevitable—came when Hermès landed its Fall/Winter 2026 collection between the hills of Bel Air, with the brand’s show treated as a performance in itself.

From the start, the message was movement. Hermès positioned craftsmanship and movement as the guiding references. filtered this season through Nadège Vanhée’s focus on dance and performance. In the show caption. the brand described the idea plainly: “Craft and choreography converge through gestures perfected over time. revealing a form of beauty. A common language emerges, uniting dancer, artisan, and woman.” The Westside setting didn’t soften that claim. If anything, it sharpened it—like the kind of controlled elegance you feel when every step is deliberate.

The production leaned into the Californian illusion of myth. Guests could be surrounded by an “alarming amount” of the hardest to find. highest-priced Birkins and Kellys in Bel Air. the piece notes—yet the real draw was a beige. sculptural installation washed in golden-hour light. Built around columns. pathways. and a sign reading “Silhouettes On The Horizon. ” it arrived drifting closer to Hermès orange. a visual bridge between old-world craft and new-world reinvention.

“It has the hint of old Europe mixed with the new world. it’s a place where you reinvent yourself. where you can explore everything. ” Vanhée told Vogue. In Bel Air, that exploration didn’t stay abstract. It began with guests including Miley Cyrus. Keke Palmer. Julia-Louis Dreyfus. and Kerry Washington—arriving to move through the space by golf cart. then climbing a sharp incline and entering a butter-yellow drenched room.

The choreography translated into color first. The show opened with a trio in the same shade. described as “jaune fauve” in the press release and later. in most people’s minds. as “morning.” As the sequence shifted. “rouge tango” moved closer to sunset—framed like “a red scratch along the horizon on a summer day.” The day ended with “vert impérial. ” pushed further by darker tones.

That arc wasn’t only decorative. It ran through the construction and material choices. Satin dresses carried ballet-influenced construction details. velvet pieces leaned into “1930s and old-world references. ” and sparkling knit showgirl onesies brought a sharper brightness to the performance. Heavily worked leather showed up in studded biker jackets, while the newest bags arrived in east-west proportions. Totes took on triangular silhouettes, and relaxed shoulder shapes kept the look from locking into formal stiffness.

There’s also the quiet continuity running beneath it all: the Hermès girl remains, unmistakably, a horse girl. Equestrian codes extend into everyday dressing—even for a summer night out.

Seen as a whole, the evening reads like one sustained gesture: start in “morning,” tilt into “sunset,” and land in “end of that day” darkness—while craftsmanship and choreography stay braided together, stitch by stitch, step by step.

Hermès Bel Air Fall/Winter 2026 Nadège Vanhée fashion show dance and performance craftsmanship leather silk equestrian codes “Silhouettes On The Horizon” “jaune fauve” “rouge tango” “vert impérial” golden hour Miley Cyrus Keke Palmer Julia-Louis Dreyfus Kerry Washington