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Birkin: ‘Take my name off Hermes crocodile bag’

British singer Jane Birkin has asked the French luxury manufacturer Hermes to remove her name from its crocodile-skin handbag after learning of the "cruel" methods used to make the iconic accessory.

Birkin: 'Take my name off Hermes crocodile bag'
Jane Birkin and one of the Birkin Croco handbags. Photo: AFP
Costing tens of thousands of euros, the Birkin bag is a symbol of wealth and is much-loved by celebrities, but the version made out of crocodile skin has attracted the ire of animal rights activists.
   
“Having been alerted to the cruel practices reserved for crocodiles during their slaughter to make Hermes handbags carrying my name… I have asked Hermes to debaptise the Birkin Croco until better practices in line with international norms can be put in place,” Birkin, 68, said in a statement.
   
The bag was designed for Birkin in 1984, after a chance meeting of the singer and the then president of Hermes, Jean-Louis Dumas. A young mother at the time, she complained she could not find a bag that was both elegant and practical.
   
The bag has since become a celebrities' favourite, beloved of Victoria Beckham, Kim Kardashian and characters in the popular “Sex and the City” television series, among others.
   
The crocodile version, which costs at least €33,000 ($36,000), is one of Hermes's best-known products, along with its silk scarves and purses named after Grace Kelly.
   
The handbag, which also comes in cow, calf or ostrich leather, is made entirely by hand in France. Each bag takes 18 to 25 hours to complete.
   
But the cherished handbags recently became the focus of an expose by rights group Peta on crocodile farms from Texas to Zimbabwe, where the reptiles are allegedly crammed into barren concrete pits before being “cruelly hacked” to death.
   
Peta said it takes two or three crocodiles to make one Birkin. In the video below, Peta visits a farm in Zimbabwe and shows how the reptiles are farmed and killed for their skin. 
 
WARNING: Graphic images in video below. Viewer discretion is advised. 
 
 
– 'We thank Ms Birkin' –
 
“At just one year old, alligators are shot with a captive-bolt gun or crudely cut into while they're still conscious and able to feel pain,” PETA
said.
   
“The investigator saw alligators continuing to move their legs and tails in the bleed rack and in bloody ice bins several minutes after their attempted slaughter,” it added.
  
Welcoming Birkin's decision, Peta said on its website on Tuesday: “On behalf of all kind souls in the world, we thank Ms Birkin for ending her association with Hermes.”
   
The group also called on Hermes to “stop plundering wildlife, factory-farming crocodiles and alligators and slaughtering them for their skins.”
   
Birkin is perhaps best known as the former wife of late French singer-songwriter Serge Gainsbourg, who penned some of the songs that catapulted her to fame. She also has an acting career.
   
Contacted by AFP, Hermes did not wish to comment.
   
In a previous response to the controversy over its crocodile-skin bags, the company said all the farms it works with respect the Washington Convention on International Trade in Endangered Species of Wild Fauna and Flora, and that an audit was underway in one of the farms fingered by Peta.
   
Hermes employs some 12,000 people worldwide, including 7,200 in France.

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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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