Equestrian Living - June/July 2016

Page 70

ML: Our master saddle designer draws

everything by hand, but now we have someone transform his drawings in 3-D on the computer. There are so many options on the saddle that it really helps us to quickly adapt a saddle for a specific rider. It’s more efficient on the computer. The drawing and creation part takes time, but then we can use technology to provide faster service for our customer. We can also keep everything in memory for a specific rider and horse. The shape of the horse can change, and we can easily compare those differences on the computer. One of your recent saddles used a carbon-fiber tree. The new Hermès Allegro is made with a wood tree. What determines the ideal material? LG: We realized we wanted to integrate

technology—and there were some good things—but it blocked us in one direction. Carbon technology uses a molded process. The technology didn’t allow us to pursue the idea of making this saddle fit for one horse or several horses. You have to remake the molds to change a saddle. The wood can be corrected and be put into shape more easily. We reworked the Cavale wood tree to make it into the Allegro. The molded technology wasn’t appropriate. What about the Hermès Allegro facilitates a two-point position for the rider? LG: It’s a flatter, narrower saddle. You

don’t really need the seat as much for riders who are up and balancing. When you are balancing, you want a narrower seat so the legs are closer, fall straighter, and create more contact with the horse. How different were the modifications to the partner rider’s Hermès Allegro? LG: They all have the same seat. The dif-

ferences are minor. Some riders such as Lillie Keenan want blocks, while Pilar Cordon wants none. There are also subtle 70 | EQ UE S T R I A N L I V IN G | J U N E/ J U LY | 2016

differences in the shape of the flap that are adjusted for leg length. Everyone who has tried the Allegro feels that it is just right and perfect. It addresses issues that might have been difficult for particular riders. ML: The two saddles, Hermès Allegro

and Hermès Cavale, are very complementary. We first worked on Cavale, and some of the research on that saddle has helped us with the Allegro. LG: Our riders are all happy with the

Allegro. All the answers have been taken care of with our partner riders. We don’t need to customize. With Equiscan, a device that provides 90 specific measurements of a horse’s back, we can find the right size and ideal padding for the horse. This saddle lets you ride with more balance and sensation.

Laurent Goblet and the Hermès Allegro saddle

A CONV ERSATION WITH DA NIEL BLUM AN

H

ermès partner rider Daniel Bluman is Colombia’s rising star in international show jumping. He chatted with EQ at Le Saut Hermès about competing; training young riders; his aspirations for competing in his second Olympics in Rio de Janeiro, Brazil; and collaborating with Hermès in the design of the Hermès Allegro, their newest jumping saddle.

Marion Larochette

Can you describe the experience of competing in, and winning, the Rolex Grand Prix in Central Park last year? Daniel Bluman: It was a very memorable

week for me. To begin with, it’s an amazing venue. You’re jumping in the middle of New York City. I had a very good feeling going into that show, and that it was a good show for my mare to win. The first day she jumped excellently, and we ended up fourth. To jump a clear round at the grand prix on the second Daniel Bluman


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