Yves would have heartily despised, but the crowds readily accepted. And from the accounts in House of Gucci, Ford’s debut collection for Saint Laurent was one that Mr. Tom Ford, the prodigal designer who was heading the creative direction of Gucci at the time and who had nearly single-handedly turned the brand from a hereditary mess (à la House of Gucci) to the sultry and seductive purveyor of sleek luxury accessories, was now also put in charge of YSL. Surprisingly, the house was even acquired by pharmaceuticals giant Sanofi, but changes weren’t afoot until the Gucci group (now known as Kering) took formal ownership of it in 1999. Throughout the 60s and 70s, it came to signify the “Beatnik” aesthetic, featuring thick padded jackets, slim pants, and thigh-length boots, while in the 80s, fragrances became the brand’s best-sellers.īy the waning decade of the century, however, the brand had become obsolete, unable to compete with the utilitarian-chic movement that Prada spearheaded and other, more responsive brands had followed. In fact, the YSL of the 60s was at the forefront of the couture-meets-ready-to-wear movement, popularizing women’s tuxedoes, like the infamous Le Smoking. Now, Yves Saint Laurent’s YSL was a very different brand from the one we see today, and that’s not taking into account the radical changes Hedi Slimane controversially made. Named after a strategic East-African seaport in the Kenyan coastline, the Mombasa’s history is intricately tied to that of the storied house of YSL. What bamboo is to Gucci, the horn is now to Saint Laurent,” Tom Ford reportedly announced when he came up with the Mombasa bag. And now, more than twenty years into its release, it appears to be back, and if you love handbags, you better watch out for it! So, ladies and gentlemen, re-introducing the Yves Saint Laurent Mombasa bag! The History of the Mombasa Thus, this purse not only made its way onto the shoulders of every it-girl well into the turn of the decade, but it also transformed a sleepy couture house into a formidable giant of the luxury industry. In fact, save for a distinctive horn handle, it pretty much had no other embellishments! But because it had nothing that could tie it to a particular point in history, or even a certain aesthetic, it became all the more versatile, not to mention supremely usable. It lacked the historical cache that the Gucci monogram had come to proclaim or the off-duty glamor that the Balenciaga Motorcycle exuded. It had neither the slick detailing of the Fendi Baguette nor the over-the-top bells and whistles common to Galliano-era Dior Saddles. It was amidst this veritable hullabaloo of swoon-worthy purses that one bag, in particular, emerged quickly, but also rather discreetly, making its way to the handbag hall of fame. Chanel, too was having fun trying out its hand at everything from pop-culture favorites, like the Medallion Tote, to borderline-grunge styles like the Coco Cabas, as well as now-vintage classics like the Single Flap. For instance, the first trappings of the Birkin’s popularity manifested in the form of Samantha’s escapades during the fourth season of Sex and the City (which aired in 2002). Hilton paired with ultra-low-rise everything, or the Cherry Blossoms Pochette Regina George sported with an omnipresent frown.Īnd, of course, die-hard collectors of the Balenciaga Moto bags would chime in unison: the flat-brass Firsts and pewter Citys from the early aughts are the most covetable of the lot!īut it wasn’t just it-bags that encapsulated the purse-centric frenzy of this era. The fab collab between Marc Jacobs and Takashi Murakami seeped into the collective conscience as the epitome of “cool-girl chic,” whether it be in the form of the Louis Vuitton Multicolore Monogram Keepall that Ms. The Dior Saddle and the Fendi Baguette had their pop-culture moments under Ms.
Say what you will, but OG bag lovers would certainly agree: the early 2000s were some of the best years in handbag history.
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