Perhaps the atelier’s most notable fan, Jackie Onassis, was frequently spotted swinging a large, unstructured Gucci tote from her shoulder, (which would be soon be renamed in her honour.)
Meanwhile, Guccio Gucci was creating handbag handles out of bamboo: a clever way to side-step the sanctions that lingered over Italy, a hangover from the war. Intricate carvings and filigree metalwork often made these bags the central focus of a look. Dress bags were rendered in swirling marbled lucite, replete with a pearlescent sheen or even completely see-through. The end of the war also opened up new possibilities in materials.
With co-ordination key to the hyper-polished 1950s aesthetic, it was essential for a woman’s handbag to match her hat, shoes, and any other accessories, meaning many amassed dozens of bags to work across their wardrobes. Waists were nipped, full skirts grazed the ankles, and women required a smaller, structured handbag to balance this new silhouette. In the 1950s, the post-war economic boom sparked a revolution in fashion, spearheaded by Dior’s New Look.
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