For the past several seasons, Chanel has leaned heavily on themes to inform its collections, and its accessory design in particular. First came art school, then protest rallies, and with them some huge hits and notable misses in the bag department.
Dior has an advantage that only a tiny handful of other fashion houses enjoy. Because the brand resides at the very top tier of fashion houses and because it has a history so rich and storied that it’d make a marketer weep, Dior can not only make handbags out of the world’s rarest, finest exotics and expect to sell all of them, but the brand can make interesting, challenging bags that retail for $30,000 and expect to sell those, too.
Over the past six months, we’ve discussed the problems that plague Prada’s handbag business (and, therefore, its business at large) on a number of occasions. Chiefly among them are the brand’s reliance on saffiano leather, which is not really a luxury material, and the lack of diversity in its bag mix.
Anya Hindmarch is a brand that’s been around as long as I’ve been into handbags, but in the past two seasons, the British designer has rocketed to wider interest than she’s ever received before. That’s largely because of the decision to incorporate a few consumer product logos into some bags two seasons ago; earlier this week, Hindmarch gave us even more of what’s exploded the brand into the mainstream.
As you might have noticed, we didn’t exactly flood the site the New York Fashion Week coverage last week. That wasn’t an oversight; we’ve found that, over the years, you guys really only care about seeing the great bag collections that go down the global runways, as well as the great bags that pop up outside.