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As travel became a more frequent recreation, stackable and stiff luggage was replaced with softer, more packable travel accoutrements, and Louis Vuitton reacted in kind with its Speedy bag—or, as it was known at the time of its 1930 debut, the “Express.” Crafted with waxed, coated canvas featuring the famed monogram and vachetta leather handles and piping, the Speedy was equal parts pliable and durable. But its conversion from a luxurious-yet-practical travel bag to a purse to be seen carrying had all to do with Audrey Hepburn, who, in 1959, asked the maison to size down its 30 Speedy (the number denotes the width of the bag in centimeters) to 25. Shortly thereafter, the global movie star was seen toting the satchel to and fro, and the rest was history. Today, the bag continues to be made in a similar fashion, with slight tweaks; in 2011 came the Speedy Bandouliere and in 2015, an interior zipper pocket was introduced.
The history of Balenciaga’s City bag—and its reign as an It bag for a decade and then some (the bag is back, hadn’t you heard?)—has a little something to do with Kate Moss and a lot to do with Nicolas Ghesquière. The latter was Balenciaga’s creative director at the time, and after planning for a City bag-like prototype to go into production, Ghesquière was told to pull the plug: The thinking was that a signature bag belonging to a house such as Balenciaga should be prim and structured, fitting nicely within the crooks of the arms of uptown ladies on their way to lunch. What Ghesquière had put forth was squishy, studded, shapeless, and altogether more downtown in spirit. Still, in 2001, Ghesquière managed to convince the Balenciaga higher-ups to let him produce 25 bags for his next runway show—and the rest is history. (As the story goes, Kate Moss took a liking to the bag, and so did just about everyone else.) Like a Venti Starbucks cup, Balenciaga’s City bag became a fashion-world fixture, toted around by all of Hollywood’s pretty young things; it was an It bag for the It girl. Introduced as the Motorcycle, the City bag now has several iterations and names (size being the main differentiating factor).
Hannah MacGibbon, creative director from 2008 to 2011, gave an equestrian twist to the easygoing hobo bag when she designed the Marcie in 2010. This model stands out for its curved, saddle-like front flap with topstitching details that lends itself to iteration. The house has played with different finishings and proportions, and the roundness of the mini Marnie faintly echoes the distinctive circular shape of the perfume bottle from the brand’s first fragrance, launched in 1975. On a more conceptual level, the hobo silhouette is suggestive of freedom and travel, which are core Chloé values. “I lived the life I wanted to,” Aghion once said. “I always wanted to remain independent, so I went for it. I had incredible strength and boldness.”
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