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Purpose With the current developments within the sphere of Internet of Things (IoT) technology, many conventional articles are all being fitted with smart functionalities, ranging from chairs, beds, shoes and caps to underwear. Bags which are utility as well as fashion items have not been left out of this smart craze, albeit to a less popular degree. The purpose of this study is to fill the research gap on the subject of smart bags research and applications and to contribute to the general discourse on IoT. Design/methodology/approach This study adopts literature search and database review, concept mapping as well as synthesis methodologies. Relevant literature form databases such as Web of Science, Google Scholar and Bing Scholar were interrogated. Manual sifting was done to eliminate papers that do not fit the set inclusion criteria. Literature on smart bags was organized into structured frameworks using concept mapping methodology. Applying a synthesis methodology enabled an exploration of the different technological trends in smart bag research and their areas of application. Findings The study identified about 15 different smart bag applications and functionalities. Discussed in this study is a classification of bags based on a number of points such as way of carrying, size, utility and fabrication materials. Also discussed are the description of what constitute a smart bag, relevant technologies for smart bag design and engineering and subsequently the current trends in smart bag applications. This study also discovered that the air travel industry tend to have some difficulties with this smart bag technologies, specifically with their built-in batteries. Practical implications The results of this study will provide researchers and other stakeholders with key information about existing problems and opportunities in smart bag research and applications. This will go a long way to help in guiding future research as well as policymaking in smart bag design and application. Originality/value To the best of the authors’ knowledge, this is the first review on the subject of smart bags even though smart bag research and commercial product design continue to gain momentum in recent years.

\"This volume is an unprecedented history of Louis Vuitton's women's bags, the most coveted line of accessories in women's fashion. At the heart of Louis Vuitton are its City Bags, a range of women's bags that dates back to the turn of the twentieth century. Featuring the trademark monograms of the house, the City Bag story began with the Steamer, a resort bag designed in 1901 to be packed inside a much larger steamer trunk. These bags have in a hundred years formally diversified into a dizzying array of handbags for every conceivable function demanded by the modern woman. Profoundly influential, City Bags are now known to millions by their descriptive names (Keepall, Bucket, Papillon, Alma, Locket, Noe, Speedy) and are still evolving into more fantastical forms. Lavishly illustrated with new and archival photography, historical graphics, landmark editorials, and ad campaigns, the volume traces the history of these specific bag families, and examines the earliest specimens and today's most sought-after collectibles, including Vuitton's collaborations with Takashi Murakami, Stephen Sprouse, Richard Prince, Yayoi Kusama, and Rei Kawakubo and one-off projects by Zaha Hadid, Shigeru Ban, Vivienne Westwood, Helmut Lang, Andrâee Putman, and of course, Marc Jacobs.\"--Amazon.com.

The fashion industry is undergoing a profound transformation towards sustainability, with eco-friendly paper handbags exemplifying the balance between environmental responsibility and commercial viability. Despite the growing attention to sustainable design, a persistent cognitive gap remains between consumers and designers, particularly regarding aesthetic and functional preferences. To address this issue, this study develops an integrated analytical framework combining Importance–Performance Analysis (IPA), Conjoint Analysis (CA), and Fuzzy Comprehensive Evaluation (FCE), using survey data from 444 consumers and 417 designers in China to systematically examine and quantify preference misalignment. The results reveal moderate yet structured divergences across key product attributes: consumers place greater emphasis on style and price positioning (with a preference for the high-end tier), whereas designers prioritise cost efficiency and functionality, while both groups show consistent recognition of environmental and practical value. These findings suggest that preference divergence in sustainable fashion arises not from conflicting values but from differentiated attribute priorities. The study advances theoretical understanding by elucidating the mechanisms of consumer–designer cognitive divergence in sustainable product design and offers a transferable IPA–CA–FCE framework that supports precision–oriented, market-responsive, and environmentally aligned design strategies. Plain Language Summary Bridging the Gap Between Designers and Consumers in Sustainable Fashion Sustainable fashion is growing fast, and paper handbags are one example that aims to be both eco-friendly and commercially viable. Yet consumers and designers do not always want the same things. In this study, we surveyed 444 consumers and 417 designers in China and used a combined toolkit (IPA, CA, and FCE) to see where their priorities match or differ. We found moderate but patterned differences. Consumers care most about style and prefer higher-end price positioning, while designers put more weight on cost efficiency and functionality. Importantly, both groups agree that environmental benefits and practical performance matter. In other words, the gap is not about clashing values—it comes from different priorities across product attributes. By showing exactly where priorities diverge and align, our framework helps teams make design decisions that are market-responsive, environmentally responsible and feasible to produce. The approach can be used beyond paper handbags to guide other sustainable fashion products. One-sentence takeaway: Aligning design choices with the style and price expectations of consumers (without losing sight of cost, function, and sustainability) can narrow the gap between consumers and designers in sustainable fashion.

Celebrating the seventy-fifth anniversary of this iconic luxury fashion brand, this book presents a vibrant visual survey of Coach's continual exploration and redefinition of American style, infused with its distinctively cool New York City spirit.At the heart of Coach is its effortless New York style, cutting-edge design, craftsmanship, and authenticity. This volume explores the evolution of this American company, from its beginnings in 1941 in a small loft as a manufacturer of leather goods to its transformation into a revered international fashion and lifestyle brand. Inspired by the pulsating energy of New York City in the 1960s, the company's owners Miles and Lillian Cahn cultivated an entirely new brand that offered not only men's leather goods, but also women's handbags, totes, small leather goods, and other accessories envisioned by Bonnie Cashin. This richly illustrated volume features both recent and archival photography, ranging from product design sketches to iconic advertising campaigns, and imagery of Coach's inspirational references.

The term ‘re-birth’ refers to the redesign of stock items originally released through the distribution route for sale to consumers but returned to headquarters as unsold stock. As a sustainable fashion practice, products are analysed and redeveloped by designers for resale as new products. During this 4-month project, a South Korean handbag company partnered with senior apparel design students in Seoul to execute a re-birth collaboration for fashion handbags. This study addresses some of the issues that arose in the process of interpretation and application of this re-birth exercise, including the relationship between the university and company, the roles of the student designer and company design team, characteristics of the product selected, and the communication required to implement the project. The concept of re-birth was introduced to the students, followed by a collaborative design exercise. Finally, 2 of the 50 re-birth designs were selected by company designers and altered for resale.