Handbag Designer 101: The Stories Behind Handbag Designers, Brands, and Industry Icons

Ori Lehavi on Creating a Legacy Handbag Brand

• Emily Blumenthal • Season 1

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What does it take to carve out a niche in a market dominated by global giants? Join us for an inspiring exploration with Ori Lehavi as he shares the remarkable story of his mother, Daniella Lehavi, who paved the way for designer handbags in the early 90s. Despite facing sexism and a lack of recognition for design as a profession, Daniella built a standout brand that captured the hearts of many. Ori offers personal anecdotes from his childhood, revealing how their living room doubled as a studio and showroom, embodying the challenges and triumphs of pioneering in an industry largely uncharted for women.

The episode unfolds into a poignant narrative of legacy and personal growth. Ori opens up about the emotional journey of stepping into the family business straight out of university and the profound impact of continuing his mother’s legacy after her sudden passing. He shares the inner workings of navigating the expectations tied to a family-run enterprise and balancing them with his architectural interests. Discover how Ori draws inspiration from global brands to reintroduce vintage designs while adapting to the digital age of fashion, all in a bid to honor and evolve Daniela's esteemed brand. This is a story of dedication, innovation, and the enduring spirit of a family legacy.


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https://daniellalehavi.com/

https://www.instagram.com/daniellalehavi/



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Speaker 1:

Hi and welcome to the Handbag Designer 101 podcast with your host, emily Blumenthal, handbag designer expert and handbag fairy godmother, where we cover everything about handbags, from making, marketing, designing and talking to handbag designers and industry experts about what it takes to make a successful handbag. Welcome Ori Lahavi, from Daniela Lahavi to Handbag Designer 101, the podcast Ori thank you for joining us today.

Speaker 2:

This is exciting. Thank you for having me, emily, a longtime fan of the podcast and of the Handbag Designer Award. We've known each other for so many years, so this is definitely exciting.

Speaker 1:

Yeah, no, I think it's. You've such an interesting story, especially since the brand itself. You know you took over for what your mom created and her legacy, so I think that's really special, and I think a lot of people don't even know the backstory. So, if you don't mind so, how old were you when your mom started? Daniela Lahavi, were you little?

Speaker 2:

Yeah, I was nine years old.

Speaker 1:

Do you remember? Do you remember her saying I'm going to be a handbag designer?

Speaker 2:

I remember mostly the frustration that was before that led to her opening her own brand. She was working for other people. It was very risky back then in the beginning of the 90s for a woman to open her own business and I remember the frustration from working from other people, mostly men, a lot of chauvinism and sexism that she unfortunately saw along the way it exists.

Speaker 1:

What are you going to do?

Speaker 2:

Yeah, and I remember all those evenings of despair that led to her decision to open it. Was she a handbag designer? Was she designing for other brands? Yeah, that led to her decision to open it.

Speaker 1:

Yeah, I remember, was she a handbag designer? Was she designing for other brands?

Speaker 2:

Yeah, she was a graduate of the industrial design division in Bezalel, which is the design academy of Jerusalem, and she graduated it was mid-80s. Companies did not hire designers. Designer was not a profession, correct. People did not know what is the added value of that the designer can bring to the table. Companies did not appreciate the financial value of a good design. It has changed so much since then. So I think in that sense my perspective is yeah, I'm lucky enough to see how the world has evolved in that sense. But it took her about six or seven years since graduation, working for other people, to realize that she needs to step up and do her own thing.

Speaker 1:

So you were born into her. Doing this, like your memories of her were always handbags.

Speaker 2:

It was in our, literally in our living room. Our living room was a studio, a warehouse Also, sometimes when she would bring customers home to show them the new collections, it was a showroom. So everything literally. I used to come back from school you know other kids go down to play, watch TV, play games, whatever. I used to pack bags, stick barcodes on things, count bags. It was all around our business and for me it was my playground.

Speaker 1:

Do you have?

Speaker 2:

siblings? No, I have siblings from my father's side, but from my mother's side I'm an only child, so it was just me and her.

Speaker 1:

So it was understood that you would be part of this.

Speaker 2:

It was really not no, no, no. Actually she was so open about it and very liberal in that sense. She always said you will do whatever you want, you will choose whatever you want. She was curious if I would choose that path, and I was always very artistic. I studied arts in school and I went to a special high school that specializes in art, but she never kind of directed me to that path. She was very open about it and eventually I chose to be there.

Speaker 1:

Was it because, if she was doing this, by the time you hit high school she had somewhat of a brand right school?

Speaker 2:

she had somewhat of a brand, right. Yeah, when I was in high school it was a brand and it was a well-known brand in Israel. The thing is, it's kind of like the blue ocean theory when you open something in such a vague and the market is so empty of those kind of designer handbags. Yeah, it was very easy to distinguish herself.

Speaker 1:

Right.

Speaker 2:

And to become well known. It was very difficult because she had to educate not only the customers but the whole market to understand what she's doing, but, on the other hand, because she was the first one and she did it so good, it was pretty fast. I mean, today a new handbag designer would not reach that kind of well-known. Yeah, yeah, yeah.

Speaker 1:

Yeah, there's something I mean, what I teach, what I teach my students, and it's so hard to be a disruptor. Now, the term is so cliche, right? What's a disruptor? Does that even really exist? People claim they're disruptors. But let's be realistic. But to be a pioneer is so costly and the time, value of money to not only create the product, sell the product, but also to educate the potential consumer that you need what I have. You should want what I have and I am something that fits into your lifestyle because I'm my own demographic, I'm my own customer, which means you should be able to relate to me because we're the same. And you know, so many people don't realize that Israel is the size of New Jersey. It's not a big country. It is.

Speaker 1:

And much like any country of that time of that size, the appeal of foreign brands would always supersede and be much more exciting and much more interesting than anything locally, the idea of being supportive like, let's support a new designer and a woman, the idea of being supportive, like let's support a new designer and a woman, why should we, when I can go, you know, have someone bring me Chanel or Louis Vuitton or Gucci or something like that?

Speaker 1:

So, and even like when Zara opened up and all the stores much like any country at that time, once those big retailers rolled in, that was still even more interesting than an independent designer.

Speaker 1:

So, you know the struggles and considering. We've all been through this as handbag designers. We've seen the changes and we've seen the evolution and we've seen the pushback of trying to convince someone to buy from us instead of somebody that they know. And the customer acquisition cost is the sweat equity that we put in, because I'm sure you've been to enough trade shows with her. Having said that, pulling the suitcases, unloading, standing there, introducing yourself as the people walk by saying, hi, nice to meet you, Hi, can I introduce this brand to you? Hi, you know it's so exhausting.

Speaker 2:

Yes, it was something that I saw from the minute she opened the business and also after she became more well-known and famous. It was always surrounding that business that it's so much hard work and I still tell it to people, many people who apply to jobs that we post, people who apply to jobs that we post. I always tell them in interviews or when I meet students, for example. Like you said, the glam around it is really just the tip of the tip of the eye. It's not really. It's like 99%, very, very hard work.

Speaker 1:

Yeah, it's smoke and mirrors to tell people that you're a handbag designer and you have a brand and all of that. But I want to talk about the rise of her fame and, if you're okay talking about all this, because I know you were part of it you know how did she make her first sample? Were you around for that? Do you remember any of that? Were you you know how did she make her first sample? Were you around for that? Do you remember any of that? Were you you know how did she get her bags made? Were they made locally? Like how did all that happen? And the evolution of that.

Speaker 2:

It was all made locally and, yeah, luckily enough, there were small workshops around Tel Aviv that she was able to find very talented craftsmen and she did the design and they made the first sample. Of course that with time, she learned how to be more and more technical. I think that it's a strong part of being a good designer knowing the technical side of the product that you design. But eventually, yeah, she had local craftsmen that did the samples and then production. Even until today, we keep that.

Speaker 2:

For me, it's part of the brand's heritage, it's part of her values to be local, to find local artisans, to support the local economy, to keep it small, to keep it very, very handmade. So it's still like that until today. I mean change in many ways, but and the world has changed in many ways you know, sourcing for raw materials is very global nowadays, but production and sampling was always something very, very local. And, yeah, definitely a part of our success is retaining that good relationship with those craftsmen and with the suppliers. Suppliers are, eventually, people that we work with and we need to support them and respect them and see it as something that's mutual. You know you give and you take, same as employees or same as customers.

Speaker 1:

It's so interesting that you say that because you know we've had a lot of people from a lot of different countries and even people locally within the States who have always struggled with production.

Speaker 1:

And you know the two schools of thought is you go to italy, you know, because there's this allure that, oh my god, it's a tap. The end consumer, I I'm always skeptical, because if you say it's italian leather, that's enough. If you say made in italy with chinese leather, it's enough. You know, like there's a perceived value of point one. And then point two is people immediately look to China to make their bags.

Speaker 1:

So once designers have been through this evolution and then say hold on, a second, maybe I can make it locally and then create a local economy.

Speaker 1:

I mean, we've had designers from Morocco, from Nigeria, from Turkey. They've all come back to the same thing saying hold on, why should I look beyond my own backyard when I can empower and create an economy with the local artisans who've always been there and have always been doing it? So I think that's a good lesson, that even locally in the States there are always people who are willing to do this and you can create a whole new economy that way without even being aware that they're now an integral part. We did an interesting episode with Julie Dean from the Cambridge Satchel Company and she did the exact same thing opened up a factory in Cambridge, and I think that's nothing to sneeze about, which is an English idiomatic expression to say like, hey, don't sleep on doing something locally, because I think that just makes your brand even that much more unique control of the look and feel of the brand is way better, once it's right under your nose and you can oversee it, than producing something in a different country or in the other side of the world.

Speaker 2:

And you can produce things in China and ship samples back and forth 20 times you will still not get the same added value as of your standing in the production line and watching over your product being made. It's not the same thing.

Speaker 1:

I want to touch upon something. So how many years were you working with your mom? Like straight out of university? Was it like expected? Or did you get a day job and then say, okay, I've tried this, I'm going to go back to working with you. Or was it because I know? You know, your mom was such a special woman and she was clearly empowering you to find your own voice and follow your own path? How did that work? Were you always like? Was it something you were always doing on the side? And then you're like, well, forget this. Why am I doing anything else?

Speaker 2:

I was always fascinated with what she did. I always had a very strong fascination to everything that has to do with fashion, aesthetics, design. I wasn't completely sure that I want to do it the way she does. I wasn't completely sure that I want to do it the way she does, mostly because it didn't have the. I added many years later, but I added a lot of marketing essence to it and today we are very, very digital and those things are closer to me. So I like them a lot and I I did.

Speaker 2:

It wasn't a part of the business back then, so in that sense it was. I mean, I was kind of split In some ways. It was very easy for me to connect and in some ways it was far away from me. I wanted to be an architect more than everything. But eventually I went to the army, army, like most of the 18 year old kids still kids, you know it's funny, but mostly most 18 year old kids in israel go to the army, which is mandatory. And I went to the army and I found myself studying during the army in the evening, just signed up to some courses in the university and started studying. So when I finished the army three years later I almost finished my va, which is not something very common no then I start.

Speaker 2:

Yeah, most young people in israel start their ms at 21, 22 years old.

Speaker 1:

They start going to university after the army.

Speaker 2:

Yeah, exactly yeah. And I started looking for an MBA for a second degree when I finished the army, because I almost finished with my first degree and I saw that most I wanted to study. My first degree was psychology and I wanted to continue into management and I saw that most degrees, especially in the US, I really I had something with the US. I wanted to study an American degree and I saw that most degrees need experience. So I told my mom, maybe I would join your company for a couple of years and gain some managerial experience and then I'll go and study somewhere. Little did I know, yeah, little did I know that in a family business. I think most cases in family business, once you go in, there's no way out.

Speaker 1:

No, it's like the mafia, you're not leaving.

Speaker 2:

Yeah, yeah, yeah, because you get so many responsibilities and since it's family I'm not saying that I was never given any discount by my mom, like she never made it easy for me. Because I'm her family, because I'm her son, I think I had to prove myself harder than any other employee she had. But, on the other hand, you know that person that is coming to work for you so well that you can trust him and, just you know, throw responsibilities on him so very, very fast. I became a very strong figure in the company, even though I was very young. I was like 21, 22.

Speaker 1:

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Speaker 1:

Was that hard? Because and this touches upon this concept of being in a family business now, and this goes for absolutely anybody right that they grew up with the business, they know the workers, they know the people who've been working with their parents, brothers, sisters, whatever and then you show up as a baby, essentially, you know as they perceive and this is, this is not you, specifically, this is anybody who works for a family business. And then, all of a sudden, you're like a director, you're head of this. Was it hard for you to work your way in and still have the respect of the people who work for her? Because, honestly, without those people, the brand is nothing right. Like you need those people who are lifers within a family business, you need to get their respect, I'd say even more so than from your mom.

Speaker 2:

It's interesting, I think it went both ways. From my side, from my end, I worked so hard to prove myself. I worked really like, I think, 14 hours a day for two or three years. In the beginning I was working from 8 am until 11 pm every day and I was so determined to change the company, to bring it to a whole new level, to prove myself.

Speaker 1:

Was there a pushback from the people saying hold on, this is how we do it.

Speaker 2:

Some pushback, yes, but I think my mother saw that opportunity to bring some young perspective to the company and it was those years it was 2005, 2006, 2007. The economy in israel was very, very good and was growing like this and we saw a huge growth in those years. So it's something that the employees were part of it and they were very, very encouraged by it, because once you see that your company or your company working, even though you're just an employee, but the company you work with is growing so beautifully and most people people are, you know, motivated by it because they want to be part of something successful. So in that sense, it was very helpful that the company grew so fast once I started to get the belief of the other employees, to get their support.

Speaker 1:

Did your mom attribute the growth to you also being there? Because I gotta say, you know, I come from a family business, my dad's company. My mom had worked there, my sister worked there, my aunt worked like everybody had basically worked there but me and you know, was it hard working with your mom. I mean, were you said you were still living with her at the time, weren't you? Because you were still so young? No, no, you had already moved out. No, no.

Speaker 2:

I left yeah, I left in the middle of the army. No, that was impossible. I even stopped coming to like Shabbat dinners and stuff, because it was really like we were. Yeah, we saw each other all day, every day, but it actually improved our relationship and we became very, very good friends, very, very close. Of course, we had crazy fights, crazy shouting at each other and crazy things, but eventually we never.

Speaker 2:

My mother always taught me never go to sleep when you're upset with someone. My mother always taught me never go to sleep when you're upset with someone. Always make up before you go to sleep. So we always made sure that we never finish the day with some, you know, held up anger or something like that. But to answer your question, the other thing is that she was very, very supportive. She was very, very grateful for what I did and she emphasized it a lot. So it gave me huge motivation to continue doing that and also she was very liberal about it. She kind of like gave me the responsibility to some things and said go ahead and do whatever you think is right and she let me, you know, fail during the way and learn from myself, from my failures. She wasn't those kind of.

Speaker 2:

I have other friends who are in family businesses where the parents are not so easily, you know, giving the kids over to the second generation Right, and she was very, very open about it and I still think that this was one of the most amazing educational approaches and this is how I raise my kid today approaches and this is how I raise my kid today. I look at her and I think of my mother letting me you know, instead of when my kid just learned to walk, instead of you know, seeing that she's gonna fall over and you know, jumping it's gonna be. Oh no, be careful, I let her fall. I mean, of course, not something dangerous, but I will let her, but I will let her tumble, I would say, and then get up.

Speaker 1:

Yeah.

Speaker 2:

And I think this is really the best way to educate.

Speaker 1:

No, it's interesting, Like Rebecca Minkoff had said, because she worked with her brother for many, many years and she said, like they'd have Thanksgivings where you know they didn't speak and he'd be on one side and she'd be on the other, and it's. And maybe because she was a single mom, maybe her view and her approach was totally different. Because when you are a single parent and you're running your own company and you're running your own business and you're doing everything by yourself, you kind of have to empower your child because you don't have the bandwidth or the space to be like don't do this, don't do it. You can't micromanage when you're trying to do everything else. So I think she was probably grateful to have someone whose only best interest was for the collective good and you can't really have an ego when it comes to your livelihood and the money you're making.

Speaker 1:

And I think so many designers get in their own way of being precious and being fabulous and, you know, letting the vision get in the way of the future success. And hearing the feedback and hearing the negative things and hearing, hey, this didn't work or this product didn't sell or why didn't it, instead of trying to push product or push something down your customer' throats. That clearly isn't working, and I think only people who have their own companies or have been in this position. It's a piece of we call it a humble pie. You have a piece of pie that makes you choke it down that you have to learn the hard way. So what a blessing that she was able to give you that kind of strength and string also to figure it out.

Speaker 2:

Yeah.

Speaker 1:

I want to touch upon this because you know I'm sure a lot of people don't even know that it's now you you're running the company. So, if you're okay talking about you know what happened with your mom and passing away and how you handled all this, because you know we have a great interview with elise aarons, who was the founder of kate spade and then started another brand called francis valentine with kate spade, and kate spade had a very unfortunate passing and, yeah, he had to, you know, have the hard decision like do I continue, can I continue, am I able to continue? And then you look at the brand, the legacy jobs. You know what you're creating and it's like hold on, I have to put on, I have to suck it up and still push through. So, if you're okay talking about that, yeah, yeah, sure, I even.

Speaker 2:

I talked about it so much in so many occasions. I think you know it's a very important part in my realization of when somebody close to you dies, you have to talk it through, you have to get it out as often as possible and to share it with other people. So I worked with my mom for almost 10 years and then, when I was like 31 and she was 59, she got sick. She had cancer, a very fast cancer, unfortunately. She discovered it and she immediately started a whole medical process, but it was too little and too late and she passed away after four and a half months.

Speaker 2:

Wow she passed away after four and a half months, which were like a complete roller coaster because it came in such a huge surprise. And also, the cancer is a disease that fighting against it takes so much energy and sucks the energy from the people that surrounding the person that is ill. So it was a very, very tough period of our lives. But I mean, on one hand it was so surprising and so quick, but on the other hand, I'm glad that she didn't suffer so much and it ended, you know, and unfortunately she didn't survive that horrible disease. But after the realization and the shock and everything that we've been through, I've kind of realized that we have to continue. We have to continue this heritage.

Speaker 2:

This it was a tradition, it was a heritage.

Speaker 2:

It was already such a famous brand in Israel and people were so surprised with their passing they felt like she's going away at her peak of her career and I felt that, you know, there is so much expectation for this thing to continue to thrive and to justify the hard work that she did all those years. I have to do it, not in a bad way that I have to do it and I go around miserable and saying, oh, I have to do something I don't like, but I wanted to do it and I wanted this opportunity and I saw it also as an opportunity to cherish her and cherish everything that she did. And we decided to look at it because Israel is such a young country it's only like 75 years old. There is no sense of those heritage you know, like you have in France, even in the US you have Coach, you have those things that have like a rich history handbag brand, but in France, I mean, it's crazy, those brands have such a long legacy and heritage and the way they respect that is so beautiful.

Speaker 2:

And I think this is something we all in the global handbag industry. We all learn from the French how to do it in that sense. So we looked at those brands and we said why can't we do it that way? Why can't we create a beautiful archive with all of her pieces? And she has over 400 designs that she did that. You can go over them and learn so much about her handwriting and about the way she created and you can take so much inspiration from that inner world that it was a shame not to do it. It was just something that had to be done. So this is what I did, with the help of the employees that some of them are still with me today that used to work with her.

Speaker 2:

So we built an archive of her creations and we started studying it and we started creating a collection that are inspired by her and her heritage. We started bringing back to life vintage items. It was already 20 something years for the brand, so there were already some threat. You know that trend eventually they come and go in waves, not that we do very trendy things, but still, you know, we found some things from the beginning of the 90s that all of a sudden you look at it and you say, oh man, this is so relevant today, this is so beautiful. She had a period in the beginning of the 90s that was very, very kind of natural and very boho, and this whole thing is coming back in the last couple of years. So this is just an example. But we started taking things from the archive, bringing them back, taking inspiration from them, and this is how I took over.

Speaker 2:

I moved more to the design side, which is something that I didn't do when she was there. I kind of gave her the respect of this is yours, I'm the manager, you're the designer. But I became much more of a designer and it was something that I learned along along the way how to bring my own taste and aesthetic and my own vision and combine it with her handwriting and with the brand's heritage. And the customers were really I have.

Speaker 2:

The brand has amazing clientele. I have the best customers in the world because they were so supportive of that and they gave me a huge encouragement to continue and doing that and gave me the belief that the brand can continue and they believe in it and trust in me to continue what she did in the best way and really I'm so lucky to have both that clientele and the people around me in the company that helped me kind of shift it to be from her to become a brand that is under her name, but she's not there anymore. So, yeah, this is how we do it and we did it, and in the last couple of years there was another huge shift towards the digital era, which is a whole different story where you're like I can't do this, like did you wake up one day and saying how can I do this without her?

Speaker 1:

Because you had? You know, I say it's magical that you were so blessed to be able to work with her, but the flip side is that she was the brand you know to say how can I continue? And I think that's anybody who suffers loss. And you know it's not just any loss and it's beyond your mother, it's beyond the brand, it's a whole compilation of who. You are right, because at this point you are the brand with her. So were you ever like I don't know how to do this without her? Like it must have hit hard. I can't even imagine how it couldn't.

Speaker 2:

Of course there are those moments it hard. I can't even imagine how it couldn't. Of course there are those moments, not necessarily because of I mean, of course it's because some of it is because of her passing. But I think in any entrepreneur's life there are these moments only like meltdowns, that you kind of say I can't, I wish somebody else would take it, I wish I could just, you know, take this whole burden and give it to somebody. But it takes a lot of I would say a lot of psychological processes.

Speaker 2:

You know, I learned about myself so many things. I learned how to look inside and find the things that I appreciate and I love in that company and how to navigate that ship towards the places that, eventually, where my passion is, what I love to do, what I want to bring to the world, what my vision is, and these are the places that inspire me to continue doing that. These are the places that inspire me to continue doing that. You know, inspiration is not only from the creative side of the business, it's also from the business perspective. You know, continue inventing new marketing ideas or developing new markets. It's also something that you need a lot of inspiration.

Speaker 2:

And I find that inspiration, I think, especially in those moments when you sit and say, maybe this is not exactly how I imagined it, maybe there are some small shifts I want to do, or sometimes big shifts that I want to do to make this a business or a brand, is a creation, is something that you create all the time and eventually you have to see that something that you create all the time and eventually you have to see it as something that you can recreate and shift it to new things all the time. This is, I mean, maybe it's a more spiritual way to look at it, but for me, the brand is a vessel to express what I want to bring to the world, what my vision is, what I want to do. Not only, it's not. I think that if I would think of a business as a platform to make hundreds of millions of dollars or something like that, I wouldn't do what I'm doing today.

Speaker 1:

Definitely not.

Speaker 2:

I think it's more of expressing my vision, my artistic taste, things like that.

Speaker 1:

Ori. That was absolutely beautiful. I want to end on a note, just to say thank you for sharing all of this and the vision and keeping your mom's legacy of Daniela Lahabi and the DNA of the brand. I think it's very clear that it's still very much mature, but there's so much of you in it now. So thank you so much for sharing all that. And how can people find you follow? You get one of these amazing leather Daniela Lahavi bags.

Speaker 2:

First of all, thank you for having me and for listening and for asking those smart questions. And for listening and for asking those smart questions. People can follow me on Instagram, the brand on Instagram. People can follow us on Facebook. We have a newsletter that we send Our website, danielalehavicom, ships globally and we have about 150 retail locations in the US where you can find the full list on our website. Those are amazing partners that we've worked with for so many years, so I think it's a part of the whole cycle of supporting Loca and, yeah, definitely growing from there.

Speaker 1:

And it's Daniela, with two L's D-A-N-I-E-L-L-A-L-E-H-A-V-A-I right, Le Havi correct.

Speaker 2:

L-E-H-A-V-I.

Speaker 1:

Okay, good, good, good yeah, but it's Daniela with two L's, just so people know, yeah, yeah, but Google knows how to fix it also. Ori, thank you. Thank you so much for coming to Handbag Designer 1 on the podcast.

Speaker 2:

Thank you.

Speaker 1:

Thanks for listening. Don't forget to rate and review, and follow us on every single platform at Handbag Designer. Thanks so much. See you next time.

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