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FASHION

English designer carries handbag brand to Sweden

At first glance, a simple handbag may appear to be a few pieces of leather arbitrarily stitched together, but to designer and entrepreneur Jackie Cawthra, a handbag is fashion statement, a confidence-booster, an image and a lifestyle.

English designer carries handbag brand to Sweden

Cawthra, 30, is the founder and creative director of Belen Enchandia, a small company that has quickly made a major name for itself in the high fashion world of handbag production.

“We have big ambitions to grow a lot, and I think that we will,” says Cawthra. “When I started this company in 2004 I didn’t set out to fail.”

Cawthra, who was born in northern England, says a trip to Madrid sparked her dream to start the company. After finishing her undergraduate degree in law, she applied for a job at a firm in Spain to gain work experience before starting law school.

She stayed in Madrid for one year, working at the firm in the mornings, nannying in the afternoons, and window-shopping at designer purse stores on weekends. She says she soon realized that nothing similar existed in London, and approached a company to set up sales in England.

“I’m not really fashion crazy, I just saw a business opportunity,” says Cawthra. “Nothing happened for two years, and then I was halfway through my legal practice course back in England and I got an e-mail from that company asking if I was still interested in working with them.”

She says at that point, she realized her calling wasn’t to be a distributor, but to start her own company. Still working in a law firm, she spent every spare moment establishing Belen Enchandia, calling shops like Harrods, Harvey Nichols and Selfridges to tell them about her new company that was different from other mass-produced brands.

“In other luxury brands, the bags are made in China, so bag-making has been turned into an industry rather than an art form,” Cawthra explains. She says some small boutiques showed interest in her bags, but it was a meeting with an editor at www.vogue.com that sent sales through the roof.

“When they posted our first real piece of press, our website had 15,000 hits in 24 hours, and crashed overnight,” recalls Cawthra. “That’s how we got our first international customers.”

Cawthra now has two assistants, based in London, though she moved to Stockholm in March, where her web design team is based. The bags are hand-made by a team of eight in Italy.

She says what’s different about Belen Enchandia is its personalized service given to every customer: the ability to custom-create a bag, interact with a stylist, and know the bag was hand-made for a fair price. The bags are stylish and functional, Cawthra says, and the company is always open to suggestions for improvement.

“We are the only luxury handbag company in the world with a site that lets you design your style, leather, hardware,” says Cawthra. “We interact with our customers. The great thing about being a small company is that we can react very fast. If we have a good idea, we can make it happen in two weeks instead of two years.”

When Belen Enchandia first started, the bags were made in Madrid, where Cawthra had established her first connections as an entrepreneur. But she says her desire to develop and produce new styles caused her to head to Le Marche, Italy, where she could more easily work one-on-one with a smaller atelier.

“About 90 per cent of traditional ateliers have closed because of factories in China taking over,” says Cawthra. “We have an ambition to support these artisans and real Italian manufacturing methods.”

The next step for Belen Enchandia is tapping into the Swedish market, says Cawthra, especially now that she’s living in Stockholm.

“People here are interested in good quality and looking good,” she says. “But I think what’s lacking here is a well-made Italian and international handbag company. The only barrier is people knowing about us, and the VAT (sales tax) which is so high, so it makes the bags more expensive.”

Cawthra says customers often e-mail her to say they are surprised by how much a bag can make them feel special, and that’s when she knows she’s succeeded at her job. She says she has formed friendships with many customers over the years, and is happy to empower them to make decisions – even if about something as seemingly innocent as a handbag.

Her focus is not on having celebrities photographed carrying Belen Enchandia bags, but targeting everyday women who want to be stylish, fashionable and chic without paying an exorbitant amount.

She started the company less than a decade ago, and Cawthra is now the mastermind behind an internationally recognized company, though she says it wouldn’t be ready to take on new challenges – like tapping into the Swedish market – if it weren’t for her team.

“It’s my vision and company, but I feel that I could never do this without everybody who is surrounding me,” says Cawthra. “Everyone needs to feel they contribute to our company’s philosophy of making life beautiful in various ways. It’s more than a business for me, it’s my life.”

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FASHION

Paris exhibition celebrates 100 years of French Vogue

A new exhibition in Paris will tell the story of 100 years of French Vogue - from the post-war 'New Look' of Christian Dior through the sexual liberation of the 1960s to the dangling-cigarette waifs of the 2000s.

French Vogue celebrates 100 years
French Vogue celebrates 100 years. Photo: Thomas Olva/AFP

But as well as celebrating the magazine’s storied history, the exhibit comes at a time of turbulence for the publication.

Just last month, it was confirmed that its editor of 10 years, Emmanuelle Alt, was out and wouldn’t be replaced.

She was not alone.

Looking to cut costs, owner Conde Nast International has axed editors across Europe over the past year, and put international Vogue editions under the direct control of global editorial director, Anna Wintour, in New York.

New York-based Anna Wintour now has overall control of French Vogue. Photo by Christophe ARCHAMBAULT / AFP

Like much of the media industry, Vogue is struggling with tumbling sales and ad revenue in the digital era.

But the latest twist is also part of the endless push and pull between New York and Paris going back to its early days.

“The whole history of French Vogue is one of back-and-forth with Conde Nast in New York – growing more independent for a while, then being reined back in,” said Sylvie Lecallier, curator of the new exhibition, “Vogue Paris 1920-2020″, which opened this weekend after a year’s delay due to the pandemic.

The Paris edition was often the loftier, more bohemian sibling to its more hard-nosed New York version.

But it was also the hotbed in which much of 20th century style and womenhood came to be defined.

“Paris was the place to hunt out talent and content and bring it to New York,” said Lecallier.

The exhibition charts the evolution from art deco drawings of the 1920s through the erotic image-making of photographers like Helmut Newton in the 1960s and 1970s.

Its last peak was under editor Carine Roitfeld in the 2000s, who brought back a provocative Gallic identity by ridding the newsroom of foreign staff and becoming a fashion icon in her own right.

Her successor, Alt, was a quieter presence, though she still oversaw key moments including its first transgender cover star, Brazilian Valentina Sampaio, in 2017.

But internet culture has created “a perfect storm” for Vogue, says media expert Douglas McCabe of Enders Analysis.

“The first 80 years of Vogue’s life, it had the market to itself, it was the bible for fashion,” McCabe told AFP.

“But online today, there are so many other ways to get your information. Influencers, Instagram, YouTube — everyone’s a threat.”

In a world where new fashion trends can blow up around the world in seconds, it has become much harder for a monthly magazine to set the pace.

“It’s not that they can’t survive for another 100 years — but they will be differently sized,” McCabe said.

Vogue has tried to branch out into different areas, including events.

“I used to work for a magazine, and today I work for a brand,” Alt said on the eve of French Vogue’s 1,000th issue in 2019.

But the big money was always in print, and Vogue Paris sales are dropping steadily from 98,345 in 2017 to 81,962 to 2020, according to data site ACPM.

It is perhaps unsurprising that the new top job in Paris, redefined as “head of editorial content”, went to Eugenie Trochu, who was key to building the magazine’s online presence.

She declared herself “thrilled to be part of Vogue’s international transformation”.

For the curator of the exhibition, it is ironic timing.

“We had no idea it would end like this when we started work on the exhibition,” said Lecallier.

“Who knows where it will go from here.”

The exhibition Vogue Paris 1920-2020 is at the Palais Galliera in Paris’ 16th arrondissement. The gallery is open 10am to 6pm Tuesday to Sunday and is closed on Mondays. Tickets for the exhibition are €14 (€12 for concessions and under 18s go free) and must be reserved online in advance. 

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