At the Ala Moana Hermès boutique in Honolulu, a petit h workshop is open to the public through August 23, featuring a collaboration with the local artist Marques Hanalei Marzan. Special for the presentation—routinely rooted in craftsmanship, innovation, sustainability, and playfulness—are three new window displays that draw on the artist’s relationship to weaving and traditional materials, such as kapa cloth.
For the new visual and scenic identity, a fun fish-themed workshop and store takeover by the artist is taking place, with a warm welcome from petit h Creative Director Godefroy de Virieu from Paris, too.
Marques Hanalei Marzan and Godefroy de Virieu, portrait courtesy of Hermès.
Hermès petit h 2026 in Hawaii, courtesy of Hermès.
“The choice of artist Marques Hanalei Marzan, whose work draws inspiration from traditional Hawaiian art and its local techniques such as Kapa, guided my decision and serves as the guiding thread of the scenography presented in our Ala Moana Center store. In this refined atmosphere, the new petit h creations we present here are highlighted by lines of graphic and colorful geometric shapes,” said de Virieu. “For me, the choice of an artist or set designer is always guided by local culture, in connection with our values of reusing natural materials.”
Hermès petit h 2026 in Hawaii, courtesy of Hermès.
Throughout the space, colorful paper panels feature original geometric patterns imagined by Marzan as a tribute to Hawaiian culture, creating a vibrant backdrop for petit h’s newest creations. The presentation embraces the workshop’s playful, slightly mischievous spirit, where unexpected materials and objects are transformed into imaginative new forms: a silk creation becomes a cloud-like seat, a pouf takes the shape of a banana or pear, and a horse-shaped shelf is crafted from leather-clad maple wood and finished with a crystal bud vase. A balancing arrangement also brings together a terracotta jar, leather globe, Soleil d’Hermès porcelain vase, and an azure surfboard.
The spirit of the presentation is encapsulated by the Hawaiian proverb Nānā i ke kumu, or “look to the source.” For petit h, that source is found in materials that might otherwise go unused. Founded in 2010 and now under the creative direction of de Virieu, the petit h workshop in Pantin, France, brings together dormant Hermès materials—from silk carrés and leather offcuts to metal, crystal, and porcelain—and gives them new purpose through the imagination and savoir-faire of its artists and artisans.
The result is a collection of one-of-a-kind objects that preserve the maison’s standards of craftsmanship while introducing unexpected functions and playful possibilities. In Honolulu, that philosophy meets Marzan’s own practice, which looks to Hawaiian history, genealogy, nature, and ancestral knowledge as sources for contemporary expression. Whitewall spoke with Hanalei Marzan about his project for the French maison and how it celebrates the traditions, craft, and culture of Hawaii.
Petit h in Hawaii
Marques Hanalei Marzan, portrait courtesy of Hermès.
Hermès petit h 2026 in Hawaii, courtesy of Hermès.
WHITEWALL: Your work is rooted in Hawaiian history, genealogy, and traditions of craft. What aspects of Hawaiian culture were most important to include through your installation for petit h?
MARQUES HANALEI MARZAN: Kapa, Hawaiian barkcloth, is a major factor in the overall scenography of the space. The natural materials used in the creation and surface design of kapa are representations of the natural world and are reminders of the responsibility Kanaka ‘Ōiwi, native people of this land, have to care for and foster the stories, traditions, and values of Hawai‘i. This understanding is at the basis of my artistic practice and guided my process to visually manifest the interconnectivity of nature and culture.
WW: Nānā i ke kumu, meaning “look to the source,” appears throughout the presentation. How does that idea resonate with your own practice?
MHM: Acknowledging sources of inspiration, materials, process, and knowledge is something engrained in me from a young age by my teachers. My teachers have taken many forms, as people, inanimate objects, naturescapes, and natural phenomena. Each have taught me to see from different perspectives and have helped me expand my appreciation for creativity and innovation while maintaining generational ideologies passed down through time.
Combining Innovation and Tradition
Hermès petit h 2026 in Hawaii, courtesy of Hermès.
Hermès petit h 2026 in Hawaii, courtesy of Hermès.
WW: Petit h is built around the transformation of dormant materials into new objects. As an artist whose work engages with traditional techniques and unconventional materials, what connected you to that philosophy?
MHM: Innovation and tradition are one and the same. The difference is where it is placed in time. Creativity is what drives people to celebrate experiences and stories. We use the materials available to us to convey the feelings that touch us to others. I also love the art of finding ways to bring materials that would typically be considered waste into new forms of life and expression.
WW: The installation creates an immersive environment that is playful, poetic, and connected to Hawaii. How did you approach translating the spirit of the islands into a language that could co-exist with the world of Hermès?
MHM: The philosophy and history of Hermès is rooted in utility, practicality, and function, manifested through meticulous craftsmanship and high quality materials. These values hold true in Hawaiian culture, making this immersive environment created through Petit H a beautiful collaboration.
Art and Culture in Honolulu
Hermès petit h 2026 in Hawaii, courtesy of Hermès.
WW: Much of your work exists at the intersection of contemporary art and ancestral knowledge. Did this collaboration reveal any unexpected connections between Hawaiian craft traditions and the artisanry of Hermès?
MHM: This collaboration reminded me that creativity and excellence are found in every culture around the world. We each express it in different ways and the fact that every community throughout time has pushed itself to greatness through the advancement of arts and culture is inspiring.
WW: Collaboration often involves balancing multiple perspectives, histories, and aesthetics. Did any conversations with the petit h team influence the final presentation?
MHM: Through this installation of Petit H in Honolulu, I believe the iterative process of its development blended both the Hawaiian sense of place with the history of Hermès beautifully. I feel the balance we achieved in this presentation honors and uplifts the cultures of both Hermès and Hawai‘i.
Tuning Into Imagination
Hermès petit h 2026 in Hawaii, courtesy of Hermès.
WW: Visitors encounter the installation as an exhibition and a journey. What do you hope people take away from the experience?
MHM: I hope people see that imagination is the source creativity and innovation. Allowing imagination to fill your mind and letting it get expressed through your hands, body, speech, and words is a skill we don’t often exercise, but it is the way we can change our life and world.
WW: What are you working on next?
MHM: I am currently working on a couple of art projects in the coming year with different museums and community organizations here in Hawai‘i and abroad. I also plan to continue sharing my practice and process through workshops, exhibitions, and community presentations.
