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- |Changes [May 05, 2008]
Ten Things 2006: Pr...Ask a man to borrow a few dollars, and, if he agrees, he probably will produce his wallet from a nondescript, purely utilitarian pocket located in his jacket or pants. Ask a woman, on the other hand, and she likely will have to rummage through a handbag, convinced her wallet is lost amid the plethora of cosmetics, crumpled coupons, and other objects deemed necessary for everyday life. Therefore, it at first may appear that the woman’s handbag is little more than the equivalent of the man’s pocket, a construction which simply serves the purpose of storage. However, this sweeping generalization represents much too simplistic a view of this artifact.
This project will attempt to dispel the notion that the handbag is merely an accessory by analyzing the intricacies of this historic thing beyond the superficial work it does. The handbag will be critically investigated as a “black box” which conceals various relationships and represents those values, thoughts, and actions delegated to it.
This examination of the woman’s handbag will begin with a brief foray into its history, progressing into the complexities of the role of the contemporary handbag, and concluding with an assessment of authenticity and replication. The lucrative commercial market for counterfeit handbags in New York City will provide a primary focus. The 2006 spring lines of brand names such as Coach, Prada, Louis Vuitton, Fendi, Kate Spade and Burberry will be assessed. Additionally, my personal collection of handbags will be documented. The idea of risk, as it is embodied in the divergence of product lines, will then be critiqued. The sheer abundance of information, as found online, in the media, and through interviews, may present a formidable challenge in the synthesis of a coherent project on the richness encapsulated by the artifact that is the woman’s handbag.
So You Now Think You’re a Fashion Handbag Connoisseur
The Ever Puzzling Fashion World
