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Most of the damaged bags we see were not neglected. They were over-cared for: a product too rich, a damp sponge, airtight storage. Leather is a skin — it breathes, it moves, and it does badly when treated like plastic.

The three rules

Fill it. An empty bag collapses, and the crease becomes permanent within weeks. Stuff it with acid-free tissue — never newspaper, whose ink migrates — or clean fabric. Enough to hold the shape, not enough to stretch the leather.

Let it breathe. Store it in its cotton dust bag, never in plastic: moisture condenses inside and the leather moulds. Away from direct light, which fades it, and away from any heat source, which dries it out.

Let it dry on its own. Blot a wet bag dry without rubbing, then let it dry at room temperature. Never a hairdryer or a radiator: heat shrinks the fibres and the leather cracks for good.

What never to do

Cleaning wipes. The alcohol strips the finish along with the dirt.
Shoe cream. Too pigmented and too rich for bag leather; it stains the lining on first contact.
Homemade oils. Olive or coconut oil does not penetrate, it turns rancid — the smell returns after a few months and never leaves.
Rubbing a stain. You spread it and drive it into the fibre. Blot instead, from the edge inwards.

By material

Grained leather — the most forgiving. A soft dry cloth is enough; a colourless cream once or twice a year, thinly.

Lambskin — the most delicate. It marks at the slightest rub. Apply nothing: protect it by carrying it carefully and storing it properly.

Patent leather — prone to colour transfer. Never store it against dark fabric; a dry microfibre cloth is enough.

Suede and nubuck — a suede brush, with the nap, and nothing else. Water leaves a permanent ring.

Exotic leathers — crocodile, lizard, python. They need specific conditioning and a professional. Do not improvise on a piece of that value.

When to call a professional

A settled stain, a corner worn through to the fibre, a lifted lining, a colour to restore: that belongs in a workshop. A repair done early costs a fraction of a late restoration, and the result is not comparable.

We are happy to advise on pieces bought from us — write to us, or bring the bag to the boutique.

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In 1995 Bernadette Chirac gave Lady Diana a bag Dior had just created. The princess was rarely seen without it; a year later the house renamed it the Lady Dior. Thirty years on, it is one of the few bags whose resale value holds without depending on a trend.

The cannage, its signature

The quilted motif takes its name from the Napoleon III chairs Christian Dior lined up in his avenue Montaigne salon for his shows. On a genuine piece each diamond is even and domed, with identical padding from one square to the next.

The first thing to check: the diamonds must stay aligned along the edges of the bag. On a copy the pattern drifts at the corners or flattens along the sides.

The charms

Four pendants hanging from the handle spell D.I.O.R. They should feel heavy, with crisp recessed engraving, and the ring holding them should close with no play.

On recent models each letter is stamped on both faces. On 1990s pieces the finishing varies more — that is normal, and one more reason never to authenticate on a single criterion.

The sizes

Micro — about 12 cm, an evening piece.
Mini — about 17 cm, the most sought-after today.
Small — about 20 cm, the balance between use and line.
Medium — about 24 cm, the historic format, Lady Diana's.
Large — about 32 cm, rarer, in high demand in plain leather.

What drives the value

Three factors, in order. First the state of the cannage: crushed or distorted quilting cannot be recovered. Then the corners, which rub first and tell the bag's real history. Finally the material: lambskin is softer but marks, calfskin is more resilient, and patent or exotic editions trade on their own terms.

Box and authenticity card add to the value but do not make it: they are sold separately and prove nothing on their own.

How we look at it

We examine every Lady Dior on the evenness of the cannage, the weight of the charms, the interior finishing and whether the wear is coherent. Our pieces can be seen at the boutique, 104 rue de Turenne, or over video if you are far away.

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Silvia Venturini Fendi designed the Baguette in 1997. The name comes from how it is carried, tucked under the arm like a loaf fresh from the bakery. It became one of the first it bags in history — and, inevitably, one of the most counterfeited.

The good news is that copies almost always fail on the same points.

1. The FF motif of the Zucca canvas

On genuine Zucca canvas the two Fs are perfectly symmetrical and evenly spaced, and above all: the pattern lines up across the seams. Fendi cuts the canvas so the design continues logically from one panel to the next.

On a copy the pattern shifts at the seams, or the Fs are subtly distorted — too thick, too close together, rounded where they should be sharp.

One thing not to confuse: Zucca is the large FF motif, Zucchino the same pattern smaller. Both are genuine; they are two versions.

2. The flap stitching

The flap is the most visible part and the hardest to copy. Count the stitches over two centimetres: on a genuine piece the spacing is constant, with no doubled stitches and no restarts. The thread matches the canvas exactly, never approximately.

Then look at the back of the flap: the lining is stitched flat, with no bulk and no visible glue.

3. The clasp

The FF clasp is solid metal, never light plating. You feel the weight the moment you pick the bag up. The mechanism closes in one clean movement with a definite click — not a soft snap.

Logos engraved in the metal are recessed and crisp. On copies the engraving is often shallow, with slightly flattened edges.

4. The plaque and serial number

Inside, a leather plaque reads FENDI and made in Italy. A serial number sits on its reverse. On late-1990s and 2000s models it combines digits and letters — the length varies by year, which is why reading the number alone proves little.

This matters: no serial number proves authenticity on its own. Numbers get copied. It is read alongside the material, the stitching and the metal — never in isolation.

How we work

We examine every Baguette on these four points, then check that they agree with each other: a bag with flawless canvas but a lightweight clasp is telling two different stories. That contradiction, more than any single detail, is what reveals a copy.

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The Bamboo bag was born in 1947 out of a constraint: post-war Italy was short of leather, and Guccio Gucci needed a material for handles. Bamboo, imported from Japan, was heated over a flame and bent by hand. Nearly eighty years later it remains one of the few parts of a luxury bag a machine still cannot imitate convincingly.

Which is exactly why it gives counterfeits away. Here is what we look at, in order, when a Bamboo piece arrives at the boutique.

1. Bamboo is a living material

Real bamboo is never uniform. It carries knots — the natural rings where branches once grew — spaced irregularly, and its colour shifts from honey to deep brown at the ends, where the flame worked it into a curve.

A resin imitation is too regular: even colour, no knots or knots drawn at tidy intervals, a perfectly smooth surface. Run a fingernail across it — genuine bamboo has a grain you can feel.

A detail few people know: heat-treated bamboo keeps a faint scent of burnt wood, still noticeable decades later on well-kept pieces.

2. Where bamboo meets leather

This is where most counterfeits fail. On a genuine Gucci the handle is held by a metal fitting machined to the millimetre, with no play, and the surrounding leather is folded — never cut flat and glued.

Take the handle and rotate it gently: the movement should be supple but silent. A sharp click or sideways play points to industrial assembly.

3. The stampings

On pieces from the 1950s to the 1970s the stamp reads Gucci alone, often with no country. Later models carry GUCCI made in Italy. A bag presented as 1960s but carrying a modern stamp raises a question — either the dating is wrong, or the bag is.

The interior leather usually carries a two-line code: the model reference above, the factory reference below. The figures are heat-stamped into the leather, never printed on it.

4. The patina of time

A genuine thirty-year-old Bamboo has lived. The bamboo may show fine lengthwise cracks — not a flaw, but the normal behaviour of the material. Conversely, a piece sold as vintage whose bamboo is flawless and perfectly even deserves a closer look.

What we do on our side

Every Bamboo that reaches us is examined by hand before it goes online: material, joints, stampings, and whether the wear on the leather matches the wear on the bamboo. If one point cannot be explained, the piece does not join the catalogue. Our purchases are covered by an authenticity guarantee with a full refund.

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It is the question we are asked most often, in the boutique and by message. The honest answer: the price of a second-hand bag cannot be read off a table, but it does follow six fairly stable criteria.

\n\n

1. The house

This is the heaviest factor. Hermès and Chanel retain a very high share of their value, sometimes more than their original retail price on certain emblematic models. Louis Vuitton, Dior, Gucci and Céline hold up well. More confidential houses depend more on the fashion of the moment.

\n\n

2. The model

Within a single house the spread is considerable. An iconic, continuously produced model — Timeless, Birkin, Speedy, Baguette — always resells. A seasonal model, however beautiful, resells for less, unless it has become a cult object among collectors.

Some pieces from the 1990s and 2000s, long overlooked, are now highly sought after. That is the whole interest of vintage, and it is why a valuation made five years ago no longer holds.

\n\n

3. Condition

This is the criterion sellers get wrong most often, almost always through optimism. What we look at:

the corners — where a bag wears first;
handles and straps — darkening, cracking, structure;
the hardware — plating wear, scratches, how the clasp works;
the interior — stains, lining separation, odours;
the structure — a deformed or collapsed bag loses a great deal.

A declared flaw has never stopped a sale. A flaw discovered on delivery has.

\n\n

4. Material and colour

Hard-wearing leathers (Togo, Epsom, caviar) resell better than delicate ones (lambskin, Swift, patent), simply because they arrive in better condition.

On colour, the timeless ones — black, beige, brown, off-white — always find a buyer. Bright colours resell more slowly but can reach very good prices with the right buyer. It is a question of time as much as of value.

\n\n

5. Rarity

Limited editions, collaborations, archive pieces, rarely produced sizes: rarity can multiply value. But it has to be documented — an undocumented limited edition is, to the market, an ordinary bag.

\n\n

6. What comes with the bag

Box, dustbag, card, clochette and padlock for an Hermès, original receipt. A complete set genuinely adds value, especially on the most expensive pieces. But its absence does not prevent a sale: we buy bags without their box every day.

\n\n

How we work

We buy outright, which means you are paid quickly, without waiting for a buyer to appear. In practice:

You send us a few photographs — front, back, interior, hardware, and any flaws;
Our team comes back to you quickly with a personalised offer;
If it suits you, we handle the logistics;
You are paid once the piece has been received and verified.

We currently buy pieces located in France and Europe, and you are equally welcome to come to the boutique at 104 Rue de Turenne, in Le Marais.

\n\n

A free valuation, with no obligation

Whether you sell or not, knowing what your piece is worth is useful — to insure it, to pass it on, or simply to know. Request your valuation: free, and with no commitment.

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At Hermès the choice of leather matters as much as the model. Two Birkins of the same size and colour, one in Togo and one in Box, are two different objects — in appearance, in structure, in the way they age, and often in value.

\n\n

Togo

The most common on large models, and often the most sensible. It is a calfskin with a pronounced, slightly irregular grain, supple but with structure. It resists scratches well, does not mark easily with water, and develops a patina without losing its shape.

Recognisable by its raised, visible grain — more pronounced than Clémence — and by its hold: a Togo bag keeps its shape without slouching.

\n\n

Clémence (Taurillon Clémence)

A calfskin with a wider, flatter grain than Togo, and noticeably more supple. Clémence bags slouch slightly over time — which some people seek for the relaxed look, and others avoid.

Heavier than Togo at equal size. On a large format, you feel the difference.

\n\n

Epsom

An embossed calfskin: the grain is printed, therefore perfectly regular — which makes it the easiest to tell apart. Rigid, light, highly resistant to scratches and water, it holds its shape impeccably and does not deform.

It is the leather of choice for structured pieces and small leather goods. That same regularity makes it feel less \"alive\" than Togo to some collectors.

\n\n

Swift

Formerly Gulliver. A very smooth leather, almost without grain, soft to the touch, which absorbs colour beautifully — it is on Swift that Hermès's brightest tones are deepest.

The trade-off: it marks easily. Scratches and water spots show. A Swift in good condition is therefore a bag that has been looked after.

\n\n

Box (Box Calf)

The historic leather of the house, a smooth calfskin with a slight sheen. It is the most noble and the most demanding: it marks, it scratches, it fears water — and as it ages it develops the patina collectors prize above all else.

An old Box with a beautiful patina can be worth more than a new one. It is one of the rare leathers where use adds value rather than taking it away.

\n\n

Exotic leathers

Alligator, crocodile, lizard, ostrich. These fall under strict international regulation: the CITES convention governs their trade, and crossing certain borders requires specific documentation.

This is an essential practical point: an exotic bag bought in Europe cannot be shipped freely everywhere. We systematically verify the paperwork before any sale, and we tell you about any constraints before you buy.

\n\n

Which leather should you choose?

\n\n\n\n\n\n\n\n

Your priority	The leather
Daily use, no special care	Togo or Epsom
Perfect structure, lightness	Epsom
Soft, relaxed look	Clémence
Depth of colour	Swift
Patina and collectability	Box

\n\n

On our listings

The leather of every piece is stated on its page, with its real condition and close-up photographs — including any flaws. We never retouch an image to make a leather look younger than it is.

See our Hermès pieces — rare, and rarely available for long.

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Quilting has been the signature of the house since 1955. It is also the first thing counterfeiters imitate — and where they most often give themselves away, because the difficulty is not sewing diamonds, it is making them fall exactly right.

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Alignment, before anything else

On an authentic Chanel bag the quilting is continuous: the diamonds carry on from one panel to the next without breaking at the seams. The flap continues the body of the bag, the sides continue the front, and the pattern stays coherent all the way around the piece.

That continuity requires cutting the leather with considerable waste, which is expensive. It is precisely what counterfeiting saves on. A pattern that \"jumps\" where two panels meet is one of the most reliable signals there is.

\n\n

Regularity of the diamond

Every diamond should share the same dimensions across the whole piece, and the padding should be even. Quilting that flattens towards the bottom of the bag, or diamonds that stretch near the edges, betray uneven filling.

One caveat: diamond dimensions legitimately vary by model, size and era. There is no single measurement valid for every Chanel. Comparing a 1990s Jumbo to a recent Mini makes no sense.

\n\n

The stitching

The thread must match the leather exactly, with constant tension. Count the stitches: their density is even along the length of any given seam. The ends are clean, with no bunching and no loose thread.

On lambskin the stitch sinks slightly into the leather and creates the characteristic relief. On caviar, which is firmer, that relief is subtler — not a defect, simply the material.

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The hardware

It is heavy. That is often the first thing you notice with your eyes closed: a Chanel chain has weight, a clasp has density. Plating is even, with no variation in tone between two elements.

The CC clasp deserves particular attention: the right C passes over the left C at the top, and under it at the bottom. That interlock is constant. Engravings — the house name, the country of manufacture — are crisp and deep, never superficial.

On models with leather threaded through the chain, the leather strip should run evenly, neither over-tightened nor slack.

\n\n

The serial number

Depending on the era it takes the form of a sticker under a protective film inside the bag, accompanied by an authenticity card, or — on the most recent pieces — an embedded chip that has replaced the sticker system altogether.

The number of digits and the typeface have changed over the decades. The important point: the number must be consistent with the model and its era. A format that does not match the bag's production period is a serious signal.

Conversely, a missing card is not disqualifying on a vintage piece: cards get lost, and many beautiful bags circulate without theirs.

\n\n

What proves nothing

Three things are too often presented as proof when they are not:

the dustbag: easily counterfeited, easily replaced;
the box: the same;
the smell of the leather: mostly a function of storage.

\n\n

Our method

None of these points taken alone allows a conclusion. It is the combination that decides, and that is what our experts apply to every Chanel bag that enters the boutique. If a piece leaves the slightest doubt, it is not put on sale.

Discover our Chanel selection — every piece authenticated, money-back guaranteed.

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The date code is the first thing most people look for when buying a second-hand Louis Vuitton. It is a good instinct — provided you know what it says, and more importantly what it does not.

\n\n

What a date code is, and is not

Contrary to a widespread belief, it is not a serial number. Two identical bags made in the same workshop in the same week carry the same code. It does not identify an individual bag: it tells you where and when the piece was made. It therefore never proves authenticity on its own — a well-made counterfeit carries one, and a plausible one at that.

\n\n

Where to look

It is deliberately discreet, never displayed. Depending on the model, you will find it:

on a small leather tab stitched inside, often at the bottom of a flat pocket;
heat-stamped directly into the alcantara or canvas lining;
under a reinforcement tab, which has to be lifted gently;
on structured models, inside a flap or near a hinge.

On some older pieces, particularly those made before the 1980s, there is simply no code at all. Its absence on a vintage piece is not in itself a warning sign.

\n\n

Formats through the decades

The house has changed its codification several times.

Early 1980s. Three or four digits only, no letters. The first two give the year, the following ones the month.

Late 1980s. Workshop letters appear after the digits.

1990s. The format settles: two letters followed by four digits. The letters identify the workshop; among the digits, the first and third give the month, the second and fourth the year. A code ending in a combination reading \"0 9\" and \"9 4\" therefore means month 09, year 1994.

From 2007. Same principle, but the digits indicate the week of production rather than the month — one of 53.

From 2021. Louis Vuitton has progressively dropped the stamped date code in favour of an embedded NFC chip. A recent piece without a date code is not suspicious: it simply belongs to a new generation.

\n\n

The workshop letters

The two letters refer to the place of manufacture: France, Spain, Italy, the United States, Germany, Switzerland. A bag made outside France is entirely normal — the house has legitimately produced in several countries for decades. This is a common misunderstanding, and it makes people walk away from beautiful pieces.

What is a real signal is an inconsistency: a workshop that never produced that model, or a manufacturing date earlier than the collection itself.

\n\n

Why the date code is not enough

Quality counterfeits have been reproducing plausible codes for a long time. The code is one clue among a dozen we check systematically:

monogram alignment across seams, and the symmetry of the motifs on either side;
the stitching: stitches per centimetre, regularity, angle, thread colour;
the vachetta: this untreated leather darkens with time and handling. A perfectly even patina on an old piece is more suspicious than an uneven one;
the hardware: weight, plating finish, engraving;
the heat stamp: letter spacing, the shape of the R and the O, the depth of the impression.

\n\n

Where we stand

At Comptoir Vintage, no piece is ever listed on the strength of a single clue. Every Louis Vuitton passes through the hands of our experts, in Paris, and all of these points are checked. For exceptional pieces, we call on an independent specialist.

If you have a doubt about a piece — yours or anyone else's — write to us. We answer quickly, and at no charge.

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