Fascinated by the intersection of art and fashion, Comme des Garçons' founder Rei Kawakubo commissioned Alison Berger – among a select group of artists – in 1997 to interpret her ethos through her art. Berger, who saw a connection between the layers of transparency and translucency in her work and the layering of Kawakubo's clothing, built an elaborate architectural intervention inspired by Giacommetti's 1932 sculpture The Palace at 4 a.m. Berger created large glass cages that jutted out into the busy sidewalk in front of Comme des Garçons' Tokyo store. Inside, she placed glass vessels, like plants in a greenhouse. Condensation collected in the cages, creating a sense of atmosphere and nature, in this otherwise entirely urban environment.

Fascinated by the intersection of art and fashion, Comme des Garçons' founder Rei Kawakubo commissioned Alison Berger – among a select group of artists – in 1997 to interpret her ethos through her art. Berger, who saw a connection between the layers of transparency and translucency in her work and the layering of Kawakubo's clothing, built an elaborate architectural intervention inspired by Giacommetti's 1932 sculpture The Palace at 4 a.m. Berger created large glass cages that jutted out into the busy sidewalk in front of Comme des Garçons' Tokyo store. Inside, she placed glass vessels, like plants in a greenhouse. Condensation collected in the cages, creating a sense of atmosphere and nature, in this otherwise entirely urban environment.

Fascinated by the intersection of art and fashion, Comme des Garçons' founder Rei Kawakubo commissioned Alison Berger – among a select group of artists – in 1997 to interpret her ethos through her art. Berger, who saw a connection between the layers of transparency and translucency in her work and the layering of Kawakubo's clothing, built an elaborate architectural intervention inspired by Giacommetti's 1932 sculpture The Palace at 4 a.m. Berger created large glass cages that jutted out into the busy sidewalk in front of Comme des Garçons' Tokyo store. Inside, she placed glass vessels, like plants in a greenhouse. Condensation collected in the cages, creating a sense of atmosphere and nature, in this otherwise entirely urban environment.

Fascinated by the intersection of art and fashion, Comme des Garçons' founder Rei Kawakubo commissioned Alison Berger – among a select group of artists – in 1997 to interpret her ethos through her art. Berger, who saw a connection between the layers of transparency and translucency in her work and the layering of Kawakubo's clothing, built an elaborate architectural intervention inspired by Giacommetti's 1932 sculpture The Palace at 4 a.m. Berger created large glass cages that jutted out into the busy sidewalk in front of Comme des Garçons' Tokyo store. Inside, she placed glass vessels, like plants in a greenhouse. Condensation collected in the cages, creating a sense of atmosphere and nature, in this otherwise entirely urban environment.

Berger was the first American artist ever commissioned to design a line for Hermès. "Only the horse knows how the saddle fits," read Hermès' original slogan, which Berger reinterpreted as "only the hand knows how the object feels." Inspired by the company's humble beginnings as a saddle shop, Berger created objects as simple, as useful, and as pure as a bridle for a horse. Her goal for the venerable fashion house was to create "heirlooms for the next generation." Poised between old and new, ritual and function, The Balance Line is a collection of bowls, water jugs, creamers, oil and vinegar cruets, and salt and pepper cellars.

Berger was the first American artist ever commissioned to design a line for Hermès. "Only the horse knows how the saddle fits," read Hermès' original slogan, which Berger reinterpreted as "only the hand knows how the object feels." Inspired by the company's humble beginnings as a saddle shop, Berger created objects as simple, as useful, and as pure as a bridle for a horse. Her goal for the venerable fashion house was to create "heirlooms for the next generation." Poised between old and new, ritual and function, The Balance Line is a collection of bowls, water jugs, creamers, oil and vinegar cruets, and salt and pepper cellars.

Berger was the first American artist ever commissioned to design a line for Hermès. "Only the horse knows how the saddle fits," read Hermès' original slogan, which Berger reinterpreted as "only the hand knows how the object feels." Inspired by the company's humble beginnings as a saddle shop, Berger created objects as simple, as useful, and as pure as a bridle for a horse. Her goal for the venerable fashion house was to create "heirlooms for the next generation." Poised between old and new, ritual and function, The Balance Line is a collection of bowls, water jugs, creamers, oil and vinegar cruets, and salt and pepper cellars.

Berger was the first American artist ever commissioned to design a line for Hermès. "Only the horse knows how the saddle fits," read Hermès' original slogan, which Berger reinterpreted as "only the hand knows how the object feels." Inspired by the company's humble beginnings as a saddle shop, Berger created objects as simple, as useful, and as pure as a bridle for a horse. Her goal for the venerable fashion house was to create "heirlooms for the next generation." Poised between old and new, ritual and function, The Balance Line is a collection of bowls, water jugs, creamers, oil and vinegar cruets, and salt and pepper cellars.