It seems CHANEL bags are harder to get these days.
But at KRIS+KIKO, you can shop everything from vintage pieces to the latest styles from Chanel’s current collection. Yes, all those hard-to-find items your closet craves are available in one ultra-fabulous destination. As convenient as that is, it’s also important to note that with any luxury purchase, it’s a good idea to do your homework.
If you’re anything like us, you’re probably in possession of a working pro and con list, right? Committing hours of research to decide which Chanel Classic Flap to get can not only feel daunting, but it’s quite time-consuming. There is so much to know about the Chanel Classic Flap that it makes total sense for us to create the ultimate guide about it. If this helps even just one person, then mission accomplished!
This guide covers the history, sizes, textiles, colors, hardware, and more. You may learn that maybe a Classic Flap isn’t for you… or you may very well fall more in love with it. At the end of the day, all we want is the perfect bag. And, let’s be real, a Chanel Classic Flap is pretty darn perfect.
So without further ado, shall we skip to the good part? Cue the ultimate Chanel Classic Flap guide. Ready to uncover the perfect Classic Flap for you? Read on or watch the video below!
History of the CHANEL Flap Bag
The history behind (any) product really is what makes something so special. In the case of Chanel, it’s legendary. Chanel is a huge deal, and honoring its history is the center of everything for the French house. The Classic Flap’s iconic status embodies that chic histoire we all can’t get enough of – and in turn, the global demand (and, erm, low supply) undoubtedly perpetuate this style’s growing value.
The Chanel Classic Flap is one of the most important, celebrated, and recognizable handbags in the fashion industry. But before the Classic Flap came about, there was the original. And that bag was? The 2.55. There is so much to love about the 2.55. This bag features the iconic Mademoiselle lock and gorgeous metal chain. She was born in February 1955 (hence the name) and she’s gorgeous. It’s important to note though: this style is not to be confused with the Reissue 2.55 (which looks similar). Reissue bags were introduced under Karl Lagerfeld in 2005 to celebrate the 2.55 style’s 50th birthday. Today, the term Reissue refers to the newer produced 2.55 bags.
Now, back to the topic of the Classic Flap. Although related to the 2.55, when we think of the Classic Flap we all think of something else entirely – and you probably do too. By any chance are you thinking of puffy quilts, CC hardware, and a gorgeous interwoven leather and chain strap? Yes please! These modernized touches were brought to fruition under Karl Lagerfeld in the 80s and have truly changed the game. That’s the moment the signature Classic Flap was born. Also created under Karl Lagerfeld is the iconic Chanel 19.
Due to the Flap’s undying popularity, it also comes as no surprise that the Chanel Flap is highly counterfeited. Explore this authenticity lesson on dissecting fake Chanel and dive into our world-renowned authentication process.
CHANEL Single Flap vs. Double Flap
Since the birth of the Classic Flap, you have probably heard about both Single Flap and Double Flap versions. What do these mean? Simply put, “single” and “double” refer to the number of flaps present on the bag. Let’s distinguish the two.
The CHANEL Single Flap
A lot of vintage flaps have single flaps, but these were discontinued in 2014. Chanel East-West Flaps, discontinued in 2010, are not part of the core classic range. But if you’re seeking a Chanel style with a “classic flap look” (and vintage), then East-West bags are worth looking at!
Today, smaller Chanel Flap sizes have single flaps, which include the Mini Flap sizes. Although these sizes have been viewed as seasonal items coming in different textile and color variations, they are now thought to be considered part of the core range of Flap bags.
The CHANEL Double Flap
Traditionally, both 2.55 bags and Classic Flaps have double flaps (which means one exterior flap and one interior flap). The double flaps are included throughout the core sizes. And those sizes are? Well, keep reading!
CHANEL Flap Sizes
The core Chanel Classic Double Flap collection includes sizes Small, Medium, Jumbo, and Maxi. As mentioned before, the smaller sizes have a single flap and those include the Extra Mini Flap, the Mini Square Flap, the Mini Rectangular Flap, as well as the Mini Top Handle Rectangular Flap.
Which size is right for you? Well, one thing to note is if you’re looking at vintage, you may notice some slight size and design variations compared to the newer styles. Don’t be alarmed, it’s just something to keep in mind due to the age of the bags.
When choosing a size, it comes down to this: what are you going to carry inside it? The Medium size is a top-selling size here and outside of KRIS+KIKO – likely because it’s not too big and it’s not too small. Although, our procurement experts tell us that the Small size is making a huge comeback!
If you want to be able to carry all, and I mean ALL your essentials (maybe you need it for going back to work), then go bigger. The Jumbo or the Maxi can fit a 10”-13” laptop plus other items, and that might be for you. Note: the Maxi is substantially large.
The Extra Mini Flap (the smallest of the bunch) has been discontinued in 2019. If this is a size you want, you won’t be able to get it retail, but we have them! If you prefer a boxier shape with petite proportions, the Mini Square Flap is a great pick. The Mini Rectangular is slightly longer but still embodies that coveted “classic flap” look and they’re really popular now – and incredibly hard to get your hands on, of course.. If you want a mini bag (or one with a top handle), the Mini model is a solid choice! But the smallest bag that you can get that has the signature double flap? That is the Small Double Flap.
CHANEL Textiles, Quilt Types & Iconic Patterns
When dreaming about which material your new darling will possess, it’s beneficial to remember that sizes and styles have textile limitations, so keeping that in mind will help you navigate your choices and get you closer to finding your perfect bag!
What Textiles You Can Expect To Find
When it comes to Chanel textiles, nothing quite tops Caviar – a signature (and quite durable) type of grained calfskin. Besides just adoring the texture with your eyes, with just a small stroke you can immediately feel what makes Caviar leather so distinct from the rest. Nothing else exists in the world like it and Caviar has become synonymous with the embodiment of Chanel and ultra-luxury as a whole. It is the very reason why bags dressed in this material last so long, are high in demand, and of course, carry immense resale value.
Pst! In the event that you’re also looking to add a wallet to the equation, be sure to skim through our in-depth post about wallet style and textile recommendations!
A quick note on Caviar…
Heads up. Chanel discontinued both the Square and Rectangular Mini Flaps in Caviar. If a Mini Caviar Flap is important to you, be sure to browse our curated selection – or if you don’t see what you’re looking for, set up an item alert for one!
But aside from Caviar leather, you can find Chanel Classic Flaps dressed in lambskin, calfskin, and patent leather. All these are truly stunning. On top of that, sometimes you will find unique iterations of the flap style dressed in exotics, such as alligator or lizard skin. Plus you can find these bags in iridescent leather, or perforated lambskin, which are all fun treatments that elevate the design. There are endless options. But just know leather requires care and the more you practice handbag TLC the longer you can enjoy your investment. Proper storage also goes a long way!
CHANEL Flap Quilt Types
Another important detail that often gets overlooked (unless you’re keen on details) is the type of flap quilts. The first type that comes to mind is Chanel’s gorgeous diamond quilting, which is the classic quilt. For those looking for something a little edgier, there are also chevron-quilted flaps that scream bold and fun. You’ll notice more Chanel Boy bags with chevron quilting, but a Classic Flap in chevron is a pretty pick, too.
Additionally, plain flaps with no quilts at all are an option too (part of the Pure line) if you prefer the leather to shine all on its own. But heads up, they’re not as common so if that is something you strongly desire, it may have to look a little extra harder before you find the perfect one you want! Patience is a virtue, my friend.
Other Flap Materials
Erm, and if you think it stopped at leather, it does not! Chanel tweed is an iconic staple and tweed flap bags truly applaud the heritage, feminist roots, and vision that its founder Coco Chanel embraced and embodied throughout her career. Chanel tweed bags come in many notable patterns, such as metallic, herringbone, houndstooth, and more. So it really comes down to what you find attractive and what you want to wear! Explore the patterns available to shop now, and see what speaks to you.
Aside from these mentioned, there is a boatload of materials Chanel uses. Others include denim, PVC, suede (available in many of Chanel’s mini flaps from the current line), velvet, and cotton canvas to name a few. Leave it to Chanel to use nearly every luxury material available to give their iconic handbag so many gorgeous looks!
CHANEL Hardware
Chanel hardware used to be 24k gold, but this kind of hardware was discontinued in 2008. Today Chanel offers a wide variety of hardware options and the most common shades include silver, gold, light gold, and So Black. The release of rose gold plated hardware (introduced for 21B), only comes in lambskin… for now.
Special editions may reveal unique hardware such as gradient hardware, aged gold or silver hardware, ruthenium, enamel, lacquered tone-in-tone hardware from the incognito line, and other interesting finishes. Hardware is like the jewelry to the bag, so it all comes down to the details.
If you know, you know…
Actually, this is the best part… To ensure that you sound like you actually know ultra-luxury fashion, we have to throw this little tidbit here for you. That is, the Chanel Classic Flap is also referred to as 11.12. This new name emerged during Spring 2021 and references the original Flap’s style code, which was A01112.
Also, the unique anatomy of the Double Flap actually serves an unusual but genius purpose. That little zip pocket located at the underside of the outer flap? That pocket is intentional and is made to store your love letters (awe). If I were alive during the gilded age (the Met Gala doesn’t count), maybe I would have love letters from suitors. But in reality, most of us probably have to-do lists or affirmations. Point is, love letters or not, Coco Chanel intentionally designed this pocket so that the bag included an area with room for sentimental tokens. And I’m smitten.
Another pocket with another little secret? A pocket within a pocket. It’s located inside the interior slip pocket and if you’re not sure what it is for it appears as though it’s there to store a pen (maybe you could). But the story behind that seemingly “out of nowhere” pocket is actually quite practical. It’s a pocket made to store your lipstick! Today that means you could store your lipstick, lip balm, lip gloss, and heck maybe a small pen if you so desire.
In the glamorous world of high fashion, a riveting drama unfolds: who is worthy to sell the coveted treasures of CHANEL? Enter our main characters: CHANEL, the epitome of luxury, and What Goes Around Comes Around (“WGACA”), a reseller daring to peddle pre-owned CHANEL goods. They’re locked in a legal tango that’s less about a mere lawsuit and more about the burning question: “Who can sell Chanel?”
At the heart of this comedic spectacle lies CHANEL’s indignation. They claim WGACA is hoodwinking customers into believing they’re CHANEL’s BFFs or that CHANEL gave a royal nod to their second-hand stash.
Imagine CHANEL goods being resold without the sacred blessing of the fashion gods!
But wait, there’s a twist! WGACA plays the ‘first sale doctrine’ card, claiming they can sell authentic CHANEL items if they were initially released into the market by CHANEL or its chosen disciples. In simpler terms, once CHANEL sells something, it’s fair game. Shocking, I know.
However, CHANEL, the guardian of luxury, has none of it. They argue some of the items sold by WGACA didn’t pass through their hallowed halls of quality control. They’re particularly miffed about 50 bags with serial numbers playing hide-and-seek in their records. Does the first sale doctrine even apply if CHANEL didn’t bless these bags? The jury’s still out on that one, quite literally.
Then there’s the battle over ‘nominative fair use.’ WGACA insists they just name CHANEL to identify the product’s origin, like a fashionista name-dropping at a party. But CHANEL, ever protective of its name, accuses WGACA of pretending to be in cahoots with them. It’s like claiming you’re friends with celebrities because you have their posters on your wall.
The courtroom drama has its comedic moments. Imagine judges and lawyers dissecting hashtags and marketing campaigns, trying to unravel whether WGACA crossed the line from mere identification to impersonating a CHANEL BFF.
Beyond this legal sitcom lies a more profound question: Who else, if anyone, can parade around selling CHANEL-emblazoned goods? While other luxury brands cozy up to the resale market, CHANEL stands aloof, trying to keep its creations under lock and key.
This case isn’t just about a few disputed handbags or marketing tactics. It’s a battle over who holds the reins in the luxury market. Can resellers like WGACA continue to thrive on CHANEL’s coattails, or will CHANEL tighten its grip, keeping its double-C logo under exclusive guardianship?
Stay tuned as this fashion saga continues, with both sides strutting down the legal runway, handbags at dawn, fighting for the right to sell the symbol of luxury – CHANEL.
The Alluring Glitz of the Luxury Industrial Complex.
In the labyrinth of the film industry, an intriguing new synergy has emerged – a vivid intersection of cinema and fashion, where the audience is entranced by the plot and lured into an all-consuming world of glamor and luxury.
No better example of this can be found than in the recent Barbie film directed by Greta Gerwig. The movie surreptitiously morphs into an elaborate, glorified commercial for the luxury brand CHANEL, ensnaring its audience in the throes of the Luxury Industrial Complex.
The Barbie film transcends these parameters, ingeniously morphing into a grand advertisement for CHANEL.
Fashion has always played a pivotal role in cinema, enhancing narratives, conveying character nuances, and contributing to visual aesthetics. However, the Barbie film transcends these parameters, ingeniously morphing into a grand advertisement for CHANEL. The viewers are artfully guided through Barbie’s extensive CHANEL wardrobe, the bags acting as a glittering, captivating protagonist of their own.
The CHANEL brand subtly and yet overtly infiltrates Barbie’s world, constructing a narrative where the luxury label is integral to Barbie’s identity.
But let’s take a moment to untangle the layers. Margot Robbie, an accomplished actress, and a well-known CHANEL ambassador, portrays Barbie, an iconic doll that epitomizes Western consumer culture. It’s an ingenious example of brand partnership. The CHANEL brand subtly and yet overtly infiltrates Barbie’s world, constructing a narrative where the luxury label is integral to Barbie’s identity.
Margot Robbie actress, and a well-known CHANEL ambassador.
We find ourselves under the relentless influence of a luxury label deeply embedded into the childhood icon’s universe, becoming an inherent part of her identity.
CHANEL’s omnipresence in Barbie’s world extends beyond a wardrobe narrative, reaching an astonishing level of product placement. The nostalgic trip through CHANEL’s timeless bags, from the 1990s vintage bags to Karl Lagerfeld’s designs, is mesmerizing yet jarring. We find ourselves under the relentless influence of a luxury label deeply embedded into the childhood icon’s universe, becoming an inherent part of her identity. The film subtly steers viewers towards the idea that Barbie, a doll revered by millions of children, cannot do without her CHANEL bags. Is this what we want to convey to our children and teenagers, the movie’s primary target audience?
While Margot Robbie shines on screen as Barbie, the film blurs the line between cinema and branding, constructing an aspirational world where luxury brands are essential to one’s identity.
The movie is unapologetically a celluloid advertisement for CHANEL’s luxurious line of handbags, intricately woven into the Barbie narrative. While Margot Robbie shines on screen as Barbie, the film blurs the line between cinema and branding, constructing an aspirational world where luxury brands are essential to one’s identity.
View it critically as a glaring example of how the Luxury Industrial Complex can subtly yet dramatically influence our perceptions and aspirations.
Undoubtedly, this strategy reflects a new reality of branding, as more luxury brands use narrative arcs in popular culture to infiltrate our consciousness. But it also serves as a potent reminder that consumers should be aware of this coalescence between entertainment and consumerism. Let’s celebrate the film for its aesthetic brilliance and powerful narrative and view it critically as a glaring example of how the Luxury Industrial Complex can subtly yet dramatically influence our perceptions and aspirations.
In the dystopian fashionscape “And Just Like That…” set 11 years after “Sex and the City 2”, we enter a parallel universe where Birkin bags possess the magical powers of immortality and everlasting youth.
Carrie, Miranda, and Charlotte have evolved into high priestesses of the Luxurious Order of Birkin Worship, with Samantha being banished only to return as a specter in a divine cameo.
One sacrilegious act shakes the foundation of their Uptown Manhattan haven – the audacious theft of a Birkin bag.
In this sacred realm of eternal blowouts (au revoir, Carrie’s natural curls!), Big’s constant reincarnation, and fierce women who have sworn to slay every look, one sacrilegious act shakes the foundation of their Uptown Manhattan haven – the audacious theft of a Birkin bag.
Beware! A Birkin thief has been let loose on season two of And Just Like That.
In the now-infamous Episode Three, the divine Seema, an enchantress clad in the very fabric of style itself, steps onto the urban catwalk of New York City. But tragedy strikes before your eyes can adjust to the sheer fabulousness radiating from the screen. In what appears to be a 21st-century retelling of the Greek myth of Hermes (who might have designed the Birkin bag if he were alive), a rogue Hermes-wannabe snatches Seema’s hallowed Birkin.
Seema’s screams reach the heavens, but the Birkin Gods are too busy picking out their outfits to answer. They fail to smite the Birkin bandit, who disappears into the urban labyrinth. Seema, tragically detached from her Birkin, wails, “What’s happening to this city?” as if the soul of NYC were contained in that bag.
Could this be an omen? Was Mayor Eric Adams trying to implement some warped, Birkin-based social policy? We shudder at the possibilities.
The acquisition of a Birkin is akin to decoding an ancient cipher; one must engage in a shadowy dance with HERMÈS, forging bonds of blood and fashion before maybe, just maybe, they deem you worthy.
In the primordial days of the franchise, we witnessed the Birkin trials of Saint Samantha. Ripped apart from Lucy Liu (her patron saint) and her destined Birkin, Samantha becomes an allegory for humanity’s eternal quest. The acquisition of a Birkin is akin to decoding an ancient cipher; one must engage in a shadowy dance with HERMÈS, forging bonds of blood and fashion before maybe, just maybe, they deem you worthy.
Seema, the messianic figure, is undoubtedly the reincarnation of Samantha’s spirit, the guardian of the Birkin. Who else could fumble such an extravagant relic?
He took only the wallet (mortal currency holds no sway for a Birkin Guardian), and thus, the Birkin was returned to its ordained keeper.
But lo and behold, a twist – the sacred Birkin, lying amidst the roots of a common sidewalk shrub, abandoned by the burglar who probably got stuck on the HERMÈS cipher. He took only the wallet (mortal currency holds no sway for a Birkin Guardian), and thus, the Birkin was returned to its ordained keeper.
Seema, you could’ve avoided this Herculean quest by insuring your artifact – a mundane spell known to mortals. But then, where would be the tragicomic glory?
In the gilded temple “And Just Like That…” where Birkins are the relics that protect, empower, and console, we are mere mortals privy to their epic tales. May the Birkin be with you.
Introducing Handbags for Ants That Cost a Fortune!
As the dust settles on this auction of the Microscopic Handbag by MSCHF, it’s evident that we’ve entered a new era in the Luxury Industrial Complex. Gone are the days when a handbag merely needed to carry your keys, phone, and perhaps a dog small enough to fit in a teacup. Now, the handbag must carry the weight of the entire luxury brand on its micron-sized straps.
Let there be a bag so tiny it can only be seen under a microscope! It shall be the vessel for your hopes and dreams but shall carry naught but a single molecule of desire!
The handbag, once a staple of practicality and a sober emblem of fashion, has evolved – nay, transcended – into an ethereal creature. In its microscopic form, it’s no longer bound by the pedestrian constraints of ‘functionality’. It’s as if the gods of luxury gathered atop Mount Couture, looked down upon the mortal consumer world, and proclaimed: “Let there be a bag so tiny it can only be seen under a microscope! It shall be the vessel for your hopes and dreams but shall carry naught but a single molecule of desire!”
The microscopic Louis Vuitton bag is a searing commentary on society’s magnified obsession with brand symbolism.
MSCHF’s masterstroke lies not just in the tiny size but also in the exorbitant price tag. A work of art to be viewed only through a microscope is an allegory to the human desire to see value in the tiniest of brand emblems. The microscopic Louis Vuitton bag is a searing commentary on society’s magnified obsession with brand symbolism.
Is this the future of luxury? Will microscopic garments be next? A world where we carry around microscopes to appreciate each other’s fashion statements?
Imagine a scene at a swanky cocktail party. “I love your necklace,” says a guest. “Oh, this old thing?” the necklace owner replies, holding out a microscope, “You should see my new Versace dress.” It’s right there, on a slide between the amoebas.
The clothes and accessories have disappeared entirely, replaced by abstract concepts and emblems that exist only in the imaginations of those who can afford them.
It’s clear that in the theatre of the absurd that is high fashion, the play has reached its final act, where the clothes and accessories have disappeared entirely, replaced by abstract concepts and emblems that exist only in the imaginations of those who can afford them. It’s a “The Emperor’s New Clothes” for the 21st century, and the audience is eagerly leaning in with their microscopes for a closer look.
Let us bask in the extravagant tragedy that is the demise of fashion collaboration. Enter stage left: ADIDAS x GUCCI, BALENCIAGA x GUCCI, GUCCI x THE NORTH FACE, DIOR x STÜSSY, NIKE x TIFFANY, LOUIS VUITTON x NIKE, MIU MIU x NEW BALANCE… Les pièces de résistance of uninspired logo swapping. The sound of thousands of champagne corks popping in PR offices echoes through the air as the very fabric of creativity weeps into the corner.
NIKE x TIFFANY
The two self-appointed titans of luxury engage in an elaborate dance, their logos fluttering about like two peacocks fighting over a cracker.
In this grand masquerade, the two self-appointed titans of luxury engage in an elaborate dance, their logos fluttering about like two peacocks fighting over a cracker. One can almost see the boardroom of executives, draped in scarves they can’t pronounce and sunglasses large enough to be rebranded as satellite dishes, making a unanimous decision to say ‘yes’ to mediocrity. Ah, the effortless symphony of branding with the artistic integrity of a potato.
ADIDAS x GUCCI
The art of collaboration has been reduced to the act of slamming logos together with all the grace of a toddler mashing Play-Doh.
But let us not limit our discerning gaze to just these two exemplars of haute couture. Let us paint with a broad brush upon the canvas of luxury fashion collaborations. For you see, dear reader, in this golden age of everything and nothing, where identities are as fluid as the consistency of the ever-changing Frappuccinos at Starbucks, the art of collaboration has been reduced to the act of slamming logos together with all the grace of a toddler mashing Play-Doh.
Here we stand, at the majestic precipice of postmodernism’s twilight, where the boundaries that once sparked creativity through opposition are now as blurred as the vision of our executives as mentioned above at an open bar. In this new world of unity and sameness, where everything is perpetually remixed into a homogenous and flavorless smoothie, collaborations of yore have lost their luster.
Welcome to the post-collaboration epoch, where the only thing being woven together with any care is the illusion of innovation.
“Dare to be different!” is whispered through the halls of fashion schools, only to be trampled upon by the stilettos of an industry hell-bent on replicating success through the ingenuity of an amoeba. Welcome to the post-collaboration epoch, where the only thing being woven together with any care is the illusion of innovation.
In memory of collaborations past, we light a scented candle (Gucci fragrance, naturally) and don the black Gilden hoodie – the shroud of creativity’s ghost. Here lie the remnants of what could have been, now only serving as a harbinger of clearance sales and Instagram influencers whose bios boast “as seen in Vogue.” Requiescat in pace.
