The Butterfly Bag by Carlos Falchi featured on The New York Times' "25 Shoes and Bags That Transformed Fashion"

We are thrilled to announce that Carlos Falchi has been featured in The New York Times' prestigious "25 Most Influential Shoes and Bags that Transformed Fashion" list. This recognition is not just an accolade; it's a testament to the brand's unwavering commitment to craftsmanship, unique design, and the lasting impact of its iconic handbags. For decades, Carlos Falchi has been synonymous with exotic leathers, bold textures, and a spirit of unapologetic individuality. This recent acknowledgment by the New York Times underscores the brand's pivotal role in shaping the landscape of high-end accessories. This feature cements the brand's place as a true fashion icon, and reinforces the enduring appeal of these designer handbags for luxury fashion enthusiasts worldwide. Join us as we delve into the significance of this milestone and celebrate the enduring legacy of Carlos Falchi.

Here's an exerpt from the original New York Times' article:

A 2024 version of Carlos Falchi’s 1979 Butterfly bag. Courtesy of Carlos Falchi.

In the 1970s, the Brazilian-born, New York-based designer Carlos Falchi took a relaxed approach to luxury handbags, which at the time were quite rigid and structured

 “I didn’t really know how to make [one],” he said in 2008. “So I broke the rule[s].” The most iconic style he came up with was the Butterfly, a shoulder bag, sewn together with only two seams and gathered in the front to resemble an abstract butterfly, that came to be known as the Buffalo after its original material, buffalo hide. “It was soft and unstructured, had a long strap that allowed it to be slung around the body or over the arm — rather than carried like an object — and introduced a freedom and ease that mirrored the spirit of the era,” said Mellissa Huber, a curator at The Costume Institute at the Metropolitan Museum of Art. The Buffalo, which would come in a variety of exotic animal skins over the years and which, according to Women’s Wear Daily, was among the most imitated of the era, was inspired by Falchi’s time as an art student in Japan. With it, Falchi offered a new way of thinking about the handbag itself: although it was far from basic — some iterations had fringe and beading — he considered it an all-purpose, everyday accessory. — T.H.

Carlos Falchi in his New York showroom, 1981.  John Bright/WWD/Penske Media/Getty Images

Lopez: I mean, the simplicity. My mom had a fake version of it. It reminded me of, like, a thief’s bag from a different era.

Doonan: In the 1970s and early ’80s, the groovy customer didn’t have a bag and didn’t really seem to want one, and then this came along. There were obviously Chanel bags before this, but in terms of the customer who was buying Alaïa or Claude Montana, this was kind of the first.

Kim: How much were these?

Doonan: I think we’d be staggered if we saw the price. The idea that you could charge thousands of dollars for a bag hadn’t arrived yet.