木曜日のNew York Timesで面白い記事がありました。
”誰が、どうして $1,200 のバッグを買うのか。”
最近のバッグ人気はかなり過熱気味のようですねー。
昨年に比べ２０から３５パーセントも値段があがってきているようですが、それでも売れていると。
例えば Marc Jacobs の Sofia bag は $975 ですが去年の秋の似たようなバッグは $895。プラダの"bowler"bagは $1,445 ですが
、２、３シーズン前の似たモデルだと $940 か $990 だったそう。
それでも売れる。なぜか。考えられる理由。
全体的にファッションがカジュアル化して、ジーンズでディナーパーティーもOKだったりする。だから「ジーンズに４桁のハンドバッグで "I'm not a graduate student" とさりげなくメッセージを送る」んだと。このバッグデザイナーの意見によれば「ハンドバッグは持ち運び可能な家みたいなもの」。
面白いです。当たってません？
驚く事にラグジュアリーバッグを買う大多数は４０歳以下の年収$50kから$75kの女性だそう。ある著者の分析によると「they are the consumers who have something to prove」。
んー。お金あるのよって？
マーケットアナリストによれば「２、３年前の流行りは靴。去年はジーンズ。今年はバッグ。」らしい。そうか？
だから来年はまた違うものに熱がかかるのかな。
http://
”誰が、どうして $1,200 のバッグを買うのか。”
最近のバッグ人気はかなり過熱気味のようですねー。
昨年に比べ２０から３５パーセントも値段があがってきているようですが、それでも売れていると。
例えば Marc Jacobs の Sofia bag は $975 ですが去年の秋の似たようなバッグは $895。プラダの"bowler"bagは $1,445 ですが
、２、３シーズン前の似たモデルだと $940 か $990 だったそう。
それでも売れる。なぜか。考えられる理由。
全体的にファッションがカジュアル化して、ジーンズでディナーパーティーもOKだったりする。だから「ジーンズに４桁のハンドバッグで "I'm not a graduate student" とさりげなくメッセージを送る」んだと。このバッグデザイナーの意見によれば「ハンドバッグは持ち運び可能な家みたいなもの」。
面白いです。当たってません？
驚く事にラグジュアリーバッグを買う大多数は４０歳以下の年収$50kから$75kの女性だそう。ある著者の分析によると「they are the consumers who have something to prove」。
んー。お金あるのよって？
マーケットアナリストによれば「２、３年前の流行りは靴。去年はジーンズ。今年はバッグ。」らしい。そうか？
だから来年はまた違うものに熱がかかるのかな。
http://
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コメント(19)
私もこれ見ました。お昼休みに簡単にチェックしただけだったので、エマさんの説明で納得。
ジミー・チューやブラニックの靴がsex&the city以来もてはやされていましたが、だれがあんな高いものを買うんだろうと、いつも思っていました。ま、お金持っている人はもっているんですね。
なんだか不動産に手が届かなくて、もう鞄買っちゃえみたいなやけっぱちの人もいそうな気もしますが、家を買っちゃえる人は、ご両親が投資のために融資してくれたりしてるという話も、同僚から聞きます。
一般的凡人はというと、学生ローンの返済大変な人とか多い気がしますが。
あと、アメリカのクレジット事情も、おおいに貢献しているような気もします。本物をかってクレジットカード地獄の人もいそう。
貧乏人は街角の露天で似たようなものを買うのでしょうね。
以前、アメリカの景気は借金で成り立っているという記事を読んだ事があります。景気だけでなく、国事態も借金で動いている。これ以上かくと、戦争とかの話になっちゃいそう。
あーごめんなさい。貧乏人丸出しの書き込みになってしまいました！
鞄の次はそれと合わせるためのベルトかな？外から見えるってのがポイントでしょうね。下着とかじゃ、ショウオフできませんものね（笑）
ジミー・チューやブラニックの靴がsex&the city以来もてはやされていましたが、だれがあんな高いものを買うんだろうと、いつも思っていました。ま、お金持っている人はもっているんですね。
なんだか不動産に手が届かなくて、もう鞄買っちゃえみたいなやけっぱちの人もいそうな気もしますが、家を買っちゃえる人は、ご両親が投資のために融資してくれたりしてるという話も、同僚から聞きます。
一般的凡人はというと、学生ローンの返済大変な人とか多い気がしますが。
あと、アメリカのクレジット事情も、おおいに貢献しているような気もします。本物をかってクレジットカード地獄の人もいそう。
貧乏人は街角の露天で似たようなものを買うのでしょうね。
以前、アメリカの景気は借金で成り立っているという記事を読んだ事があります。景気だけでなく、国事態も借金で動いている。これ以上かくと、戦争とかの話になっちゃいそう。
あーごめんなさい。貧乏人丸出しの書き込みになってしまいました！
鞄の次はそれと合わせるためのベルトかな？外から見えるってのがポイントでしょうね。下着とかじゃ、ショウオフできませんものね（笑）
ラグジュアリーバッグは欲しいけど、必要以上に高い商品を買うのはどうも業界の思うつぼにハマっている気がしてくやしい。かといって偽物を買うのもくやしい。
おーちゃんさんの言う通り、今はクレジットカード乱用の借金社会だからバッグの値段がいくらであっても買うのは簡単だと思うんです。だから自分のふところに見合った現金で買えるようなノンブランドのバッグを持ち歩く方がよっぽど難しいかも。
が、しかし。なんだかんだ言ってもやっぱり目が釘付けになるようなバッグが欲しい自分がいるので困る。清香さんのいう高揚感なんですよ。かわいいバッグを見つけるとアドレナリンが出る！
自分に買える範囲で、つまり「現金で買えなければ自分には買う余裕がない」を頭に入れてショッピングを心がけるぞ。
おーちゃんさんの言う通り、今はクレジットカード乱用の借金社会だからバッグの値段がいくらであっても買うのは簡単だと思うんです。だから自分のふところに見合った現金で買えるようなノンブランドのバッグを持ち歩く方がよっぽど難しいかも。
が、しかし。なんだかんだ言ってもやっぱり目が釘付けになるようなバッグが欲しい自分がいるので困る。清香さんのいう高揚感なんですよ。かわいいバッグを見つけるとアドレナリンが出る！
自分に買える範囲で、つまり「現金で買えなければ自分には買う余裕がない」を頭に入れてショッピングを心がけるぞ。
先日のWSJにハンドバック関連の記事のってました。今どきの女性はアパレルに関しては、トレンドものはH&MやZaraでまにあわせ、まともにお金使うのはハンドバック中心、だそう。よってハンドバックにはブランド側も、かなり力入れてるそうな。
Handbag Designer Grips Paris Fashionables
By CECILIE ROHWEDDER
October 6, 2005; Page B1
PARIS -- Few of the spectators who will be lining the catwalk at the Celine fashion show here today have heard of Guido Boragno. He won't take a runway bow or pose with the models, but Mr. Boragno is one of the hottest items in the business today -- a handbag designer.
The 36-year-old's previous jobs include stints at Romeo Gigli and Prada Group NV, where he designed leather goods for both the Prada Sport and Jil Sander brands. As the new leather-goods designer at Celine, a unit of LVMH Moët Hennessy Louis Vuitton SA, Mr. Boragno is in charge of sustaining the chic of the brand's bags, which account for 60% of total sales, sell for up to $11,000 apiece and have adorned the arms of Madonna and Sarah Jessica Parker.
"I feel the weight of the responsibility," the German-Italian designer said one morning last week, as he cradled in his lap his first stab at a hit handbag for Celine: a large, slouchy, rectangular purse resembling a doctor's bag. "New jobs are always a challenge, and this one is definitely a challenge for me."
Accessories creators like Mr. Boragno are playing an increasingly crucial role in the luxury-goods industry. As discount chains sell more-fashionable and higher-quality garments, designer clothes are losing part of their distinction, but a luxury handbag still stands out. Many women who can't afford expensive designer apparel will still shell out for a purse. And bags fit women of every size and age.
"A bag is one of the few premium products where women will pay over-the-top prices, because there are fewer comparable products and because having the right bag is such a fashion statement," says Maureen Hinton, senior research analyst with retail consultants Verdict Research in London.
With profit margins well above those of apparel, accessories provide the lion's share of sales and profit for fashion heavyweights like LVMH and Gucci Group NV. Some houses, like Chanel and Hugo Boss, are opening stores that sell only accessories and are launching new items more frequently. Prada underscored the accessories trend at its fashion show in Milan last week, when several models pulled roll-on suitcases down the runway.
But to meet this increasing appetite, industry executives say, fashion houses need more specialized designers. Salaries vary widely. Smaller houses with limited budgets sometimes pay only $60,000 while a star accessories designer at a top-notch fashion house can make up to $1.8 million.
"If I had to give advice to a young designer, I would tell them to get into accessories," says Floriane de Saint Pierre, a Paris headhunter who specializes in the luxury-goods industry. The fashion houses' demand for talented accessories makers is so strong that she declines to do searches for new clients, to give existing clients first crack at talent.
Mr. Boragno's career offers a glimpse of this little-known crowd of professional accessories designers. They toil in a relatively unglamorous corner of large fashion firms, move more freely between companies than the more-famous clothing designers and sometimes work as consultants for several labels at once. Celine's accessories operation also shows how designers and marketers are working ever more closely together in the quest to churn out hit bags.
Celine has a lot riding on its new handbag man. The 60-year-old brand is in the middle of a turnaround after it "completely missed the 1990s," says its president and chief executive officer, Jean-Marc Loubier. It recently parted with two design chiefs: American Michael Kors, who resigned in 2004, and his successor, Italy's Roberto Menichetti, who left this summer. Under Mr. Kors, Celine had a handbag hit, the Boogie bag, which still sells at its stores. Along with Mr. Boragno, Celine hired a new creative director, Ivana Omazic, who will be his boss. Mr. Boragno and Celine declined to say how much the bag designer is earning.
A soft-spoken man with rectangular horn-rim glasses, Mr. Boragno says he fell for fashion as a teenager in Oldenburg, a town in northern Germany where he grew up with his German mother and Italian father. His mother subscribed to Vogue; Mr. Boragno devoured each issue and eventually left to study clothing design in Italy. But it wasn't until he joined Prada in 2000 that he found his calling as a bag creator. "I suddenly realized that doing bags came a lot more easily to me" than clothing, he says. "Some people are good at languages, others like math. For me, it's bags."
For the spring of 2003, Mr. Boragno created a half-moon-shaped bag covered with small pockets that the company's Jil Sander brand used in its fall advertising campaign and reissued for several seasons afterward. "It was one of the best-selling handbags Jil Sander ever made," says Petra Radimersky, responsible for Jil Sander's accessories business.
But Mr. Boragno found it tough to work for two bosses -- Ms. Sander, who has since left the company that bears her name, and Prada itself. In November 2004, after a headhunter called, Mr. Boragno met with Celine's Mr. Loubier.
The Celine CEO says he liked that Mr. Boragno had read up on Celine's history and brought sketches. Most importantly, the designer convinced Mr. Loubier that he liked making bags rather than clothes -- even including the mundane, technical and marketing parts of the process.
In the three months it takes to make a bag from the first sketch to the finished product, Mr. Boragno meets about four times with Mr. Loubier, who takes an interest in every bag made. What's more, Sophie Brocart, the director of leather goods and accessories, and several product managers are involved in every step of a bag's development.
In his small office, Mr. Boragno shows off what he considers to be his best shot at a hit -- the doctor's bag. On a large pin board, rough sketches, fine pencil drawings, technical representations and colorful leather scraps map its birth. Mr. Boragno drew the first sketch of the doctor's bag in July, during his first week at Celine. His idea was a bag that was both soft and structured, displaying the Celine logo.
Ms. Brocart, the director of leather goods and accessories, had several concerns. The big bag would look best on tall women, which would require Mr. Boragno to create additional, smaller versions for smaller shoppers. "I told Guido, not all women have a tall model's figure," she says.
Offering several versions would also allow Celine to offer some cheaper versions of the $1,200 bag. Ms. Brocart also felt that the logo, embossed on round metal plates, made the bag look too flashy. And she disliked a set of four rectangular leather patches stitched underneath the handles.
Mr. Boragno went back to work. When the bag hits the runway today, the plate with the logo will be covered by leather. The patches, now connected to the handles, will be thinner, with rounded corners.
Mr. Boragno's doctor's bag is now officially called Dorine. The designer said he hasn't minded the business side's close involvement in his creations. "Many designers expect to be treated like a prima donna," says Mr. Boragno, recalling his interview with Mr. Loubier. "The challenge is to get [a bag] to the customer. For that you need cooperation with the business side."
Handbag Designer Grips Paris Fashionables
By CECILIE ROHWEDDER
October 6, 2005; Page B1
PARIS -- Few of the spectators who will be lining the catwalk at the Celine fashion show here today have heard of Guido Boragno. He won't take a runway bow or pose with the models, but Mr. Boragno is one of the hottest items in the business today -- a handbag designer.
The 36-year-old's previous jobs include stints at Romeo Gigli and Prada Group NV, where he designed leather goods for both the Prada Sport and Jil Sander brands. As the new leather-goods designer at Celine, a unit of LVMH Moët Hennessy Louis Vuitton SA, Mr. Boragno is in charge of sustaining the chic of the brand's bags, which account for 60% of total sales, sell for up to $11,000 apiece and have adorned the arms of Madonna and Sarah Jessica Parker.
"I feel the weight of the responsibility," the German-Italian designer said one morning last week, as he cradled in his lap his first stab at a hit handbag for Celine: a large, slouchy, rectangular purse resembling a doctor's bag. "New jobs are always a challenge, and this one is definitely a challenge for me."
Accessories creators like Mr. Boragno are playing an increasingly crucial role in the luxury-goods industry. As discount chains sell more-fashionable and higher-quality garments, designer clothes are losing part of their distinction, but a luxury handbag still stands out. Many women who can't afford expensive designer apparel will still shell out for a purse. And bags fit women of every size and age.
"A bag is one of the few premium products where women will pay over-the-top prices, because there are fewer comparable products and because having the right bag is such a fashion statement," says Maureen Hinton, senior research analyst with retail consultants Verdict Research in London.
With profit margins well above those of apparel, accessories provide the lion's share of sales and profit for fashion heavyweights like LVMH and Gucci Group NV. Some houses, like Chanel and Hugo Boss, are opening stores that sell only accessories and are launching new items more frequently. Prada underscored the accessories trend at its fashion show in Milan last week, when several models pulled roll-on suitcases down the runway.
But to meet this increasing appetite, industry executives say, fashion houses need more specialized designers. Salaries vary widely. Smaller houses with limited budgets sometimes pay only $60,000 while a star accessories designer at a top-notch fashion house can make up to $1.8 million.
"If I had to give advice to a young designer, I would tell them to get into accessories," says Floriane de Saint Pierre, a Paris headhunter who specializes in the luxury-goods industry. The fashion houses' demand for talented accessories makers is so strong that she declines to do searches for new clients, to give existing clients first crack at talent.
Mr. Boragno's career offers a glimpse of this little-known crowd of professional accessories designers. They toil in a relatively unglamorous corner of large fashion firms, move more freely between companies than the more-famous clothing designers and sometimes work as consultants for several labels at once. Celine's accessories operation also shows how designers and marketers are working ever more closely together in the quest to churn out hit bags.
Celine has a lot riding on its new handbag man. The 60-year-old brand is in the middle of a turnaround after it "completely missed the 1990s," says its president and chief executive officer, Jean-Marc Loubier. It recently parted with two design chiefs: American Michael Kors, who resigned in 2004, and his successor, Italy's Roberto Menichetti, who left this summer. Under Mr. Kors, Celine had a handbag hit, the Boogie bag, which still sells at its stores. Along with Mr. Boragno, Celine hired a new creative director, Ivana Omazic, who will be his boss. Mr. Boragno and Celine declined to say how much the bag designer is earning.
A soft-spoken man with rectangular horn-rim glasses, Mr. Boragno says he fell for fashion as a teenager in Oldenburg, a town in northern Germany where he grew up with his German mother and Italian father. His mother subscribed to Vogue; Mr. Boragno devoured each issue and eventually left to study clothing design in Italy. But it wasn't until he joined Prada in 2000 that he found his calling as a bag creator. "I suddenly realized that doing bags came a lot more easily to me" than clothing, he says. "Some people are good at languages, others like math. For me, it's bags."
For the spring of 2003, Mr. Boragno created a half-moon-shaped bag covered with small pockets that the company's Jil Sander brand used in its fall advertising campaign and reissued for several seasons afterward. "It was one of the best-selling handbags Jil Sander ever made," says Petra Radimersky, responsible for Jil Sander's accessories business.
But Mr. Boragno found it tough to work for two bosses -- Ms. Sander, who has since left the company that bears her name, and Prada itself. In November 2004, after a headhunter called, Mr. Boragno met with Celine's Mr. Loubier.
The Celine CEO says he liked that Mr. Boragno had read up on Celine's history and brought sketches. Most importantly, the designer convinced Mr. Loubier that he liked making bags rather than clothes -- even including the mundane, technical and marketing parts of the process.
In the three months it takes to make a bag from the first sketch to the finished product, Mr. Boragno meets about four times with Mr. Loubier, who takes an interest in every bag made. What's more, Sophie Brocart, the director of leather goods and accessories, and several product managers are involved in every step of a bag's development.
In his small office, Mr. Boragno shows off what he considers to be his best shot at a hit -- the doctor's bag. On a large pin board, rough sketches, fine pencil drawings, technical representations and colorful leather scraps map its birth. Mr. Boragno drew the first sketch of the doctor's bag in July, during his first week at Celine. His idea was a bag that was both soft and structured, displaying the Celine logo.
Ms. Brocart, the director of leather goods and accessories, had several concerns. The big bag would look best on tall women, which would require Mr. Boragno to create additional, smaller versions for smaller shoppers. "I told Guido, not all women have a tall model's figure," she says.
Offering several versions would also allow Celine to offer some cheaper versions of the $1,200 bag. Ms. Brocart also felt that the logo, embossed on round metal plates, made the bag look too flashy. And she disliked a set of four rectangular leather patches stitched underneath the handles.
Mr. Boragno went back to work. When the bag hits the runway today, the plate with the logo will be covered by leather. The patches, now connected to the handles, will be thinner, with rounded corners.
Mr. Boragno's doctor's bag is now officially called Dorine. The designer said he hasn't minded the business side's close involvement in his creations. "Many designers expect to be treated like a prima donna," says Mr. Boragno, recalling his interview with Mr. Loubier. "The challenge is to get [a bag] to the customer. For that you need cooperation with the business side."
かばんに４桁ねー。 それをＡｆｆｏｒｄできる収入があるんだったら良いと思うけど、それを買うために貧乏生活して、食費削って、、、とかしてまで買ってる人の気持ちがあたしには分からない。
かばんか、おいしいご飯か？って言われたら、断然ご飯！（ただ食い意地がはってるだけか？）
年をとっていくと、それなりにちゃんとしたところに行く機会が増えたりするから、良いかばん、靴、アクセサリーなど、いくつか持ってる必要性はあるけど、あたしは別にそれが＄１０００、＄２０００するものである必要もないと思ってます。
普段使うものだったら別にチャイナタウン産で十分だし。
ぶっちゃけ、いつも新しいかばんを会社に持っていくと、みんなに、”nice bag! is it real?” って聞かれる。
店に来る数百ドル払って髪をやりに来るＣｌｉｅｎｔでも、たまーに、Ｆａｋｅを持ってる人がいますしね。 持ってる方も
”見てみてみて、すっごくＲｅａｌに見えるでしょ？＄３０よ！”
って。(^^;
もちろん本物持ってる人もたくさんいますけど。 毎回来る度に、色違いのバーキンＢａｇの人とか、、、。
たまに日本の雑誌とか見てると２０代前半or大学生とかが高いかばんを持ってたりするけど、みんなどうやってそんな高いもの買ってんですかね？ それとも買って貰ってるんでしょうか？
かばんか、おいしいご飯か？って言われたら、断然ご飯！（ただ食い意地がはってるだけか？）
年をとっていくと、それなりにちゃんとしたところに行く機会が増えたりするから、良いかばん、靴、アクセサリーなど、いくつか持ってる必要性はあるけど、あたしは別にそれが＄１０００、＄２０００するものである必要もないと思ってます。
普段使うものだったら別にチャイナタウン産で十分だし。
ぶっちゃけ、いつも新しいかばんを会社に持っていくと、みんなに、”nice bag! is it real?” って聞かれる。
店に来る数百ドル払って髪をやりに来るＣｌｉｅｎｔでも、たまーに、Ｆａｋｅを持ってる人がいますしね。 持ってる方も
”見てみてみて、すっごくＲｅａｌに見えるでしょ？＄３０よ！”
って。(^^;
もちろん本物持ってる人もたくさんいますけど。 毎回来る度に、色違いのバーキンＢａｇの人とか、、、。
たまに日本の雑誌とか見てると２０代前半or大学生とかが高いかばんを持ってたりするけど、みんなどうやってそんな高いもの買ってんですかね？ それとも買って貰ってるんでしょうか？
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