Meet the sourcing expert of hermès’ most covetable era to date
'Behind the source’ shares the stories of Sourcewhere partners - those who find and source the best of present and past, and power the fashion sourcing network.
For Noora, founder of Mies Preowned, the ethos of sourcing is centred around slow fashion that stands the test of time, like the incredibly sought after collections from the Hermès by Martin Margiela era. Belgian designer Martin Margiela was the creative director of Hermès from 1997 to 2003. In his six years with the brand, Margiela used muted colours to create effortlessly timeless, high-quality silhouettes that remain incredibly rare to this day.
I’m very passionate about the nuances that make a garment really good when the focus turns to the wearer instead of dressing up to please others, and I found Margiela’s collections for Hermès perfectly reflecting my thoughts on that. His impeccable talent as a designer combined with the craftsmanship, and knowledge of materials at Hermès created something very unique; we can witness two decades later the garments still being in great condition after years of wear, and the fit and design are still relevant and modern.
My full-time job is actually a fashion merchandiser, which means working mostly with numbers and sorting our Excel spreadsheets. It feeds my analytical and organisational side perfectly, but I needed a more creative and free outlet to express my interests and share my inspirations with likeminded people. I started my business with a focus on vintage cashmere coats - another passion of mine - such as Max Mara, Phoebe Philo’s Céline etc. and aside I was sourcing Hermès by Martin Margiela pieces just for myself, but as my collection grew and I found pieces that didn’t fit me, the switch happened naturally. My next full-time focus will be my little baby boy arriving in September, but I’m hoping to continue sourcing even during my maternity leave, it brings me so much pleasure!
I visited the Margiela, the Hermès Years exhibition at MoMu in Antwerp in 2017, and again later in Paris - at that time for personal interest, but luckily I took plenty of photos and videos that I’ve been using for research purposes later on together with the exhibition book and Le monde d’Hermès magazines from that era. I’ve also met several collectors, as well as previous employees of Hermès with bigger or smaller archives. I find it important being able to study the pieces and their details physically to really understand the beauty and craftsmanship in them.
I really admire how much time he dedicated to studying the lives of the women he was designing for and how the garments could adapt into their different roles. The pieces might look simple, but his dedication and focus on the women’s lives can be truly discovered by wearing the garments; the exact correct shade of colour or the place of a pocket, that by slipping your hand in, it creates a perfect posture of the body.
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Paris has always been a great location for me to source pieces as many women here are loyal Hermès customers who, from time to time, like to sort out their wardrobes and make place for new finds – as we all do. They never necessarily paid attention to the current creative director, and these items are just clothes they purchased 20 years ago and it’s time for them to move on. This hasn’t changed much, but there is definitely an increasing amount of collectors who have entered the market, which adds competition, and of course increases the prices. I also find that select brands who use Hermès by Margiela as a reference definitely has something to do with the increasing interest.
"Paris has always been a great location for me to source pieces as many women here are loyal Hermès customers who, from time to time, like to sort out their wardrobes and make place for new finds – as we all do."
The timelessness fascinates me every time how relevant the pieces still are today.
I prioritise runway items, or items seen in the publications. I’m also hoping to remain inclusive in terms of prices, which is why I rarely get my pieces from other collectors, unless for special requests.
As mentioned, I also have a huge passion for coats, so my favourite item so far must be a camel hair fleece from Margiela’s first collection for Hermès, FW1998. I think his ideology is perfectly tied into that one garment; it can be worn separately as a coat, or under another coat as a lining. The sleeves can be pulled in to transform it into a cape; or arms can be slipped through the slits placed under armholes. It has subtle slits and hidden pockets. So many details are taken into consideration. Unfortunately it wasn’t my size, but only photographing it and passing it to someone who truly appreciated it as much as I did gave me immense pleasure.
Unless it is a suit, I find full looks a little boring in everyday life. I love mixing them with either other vintage finds, or new styles. The problem is, the quality is so great it can easily make other garments next to them look sloppy, hah.
The Row Half-Moon Bag
Chanel Quilted Dad Sandals
Loewe Anagram Tank Top
Céline by Phoebe Philo Brass Bell Necklace
The Row Gala Silk Trousers
I bought these The Row Gala black trousers three years ago, and eventually bought them in white too. I wore them whilst pregnant, when I went into labour and when leaving the hospital with my son - they’re worth every penny.
"I wore them whilst pregnant, when I went into labour and when leaving the hospital with my son - they’re worth every penny."
The product: Iconic Vareuse Vest from SS2000 collection.
The tip: As often for Hermès items from Margiela years, this vest runs slightly small and fits rather like a FR36, especially if hoping for an oversized look.
Pairs well with: The Row white jeans and Hermès Chypre black leather sandals for a late summer gallery hopping in Paris.
"The timelessness fascinates me every time how relevant the pieces still are today."
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