
What is a R2millon Birkin bag? The Ultimate Guide
: An orange Hermes Birkin bag in grained leather with structured handles, gold-toned hardware, a signature front lock, and tonal stitching is carried. A black blazer with pearl button cuffs is worn. A gold cuff bracelet and a sculptural gold ring with red enamel detailing.2025 in Paris, France. PictureA bag so exclusive it tells you when you're ready to carry it.
In the world of luxury, few items evoke obsession like the Hermès Birkin bag, a status symbol so steeped in secrecy that it makes buying property look easy.
Forget walking into a store and picking your favourite colour. This isn't Woolies. It's Hermès, darling, and the Birkin doesn't chase you.
You chase it.
Where did it start?
Hermès Paris under construction on the street of kowloon. Picture: Gallo/Getty Images
The Hermès Birkin bag was born out of a chance encounter in 1984 between French actress and singer Jane Birkin and then-Hermès CEO Jean-Louis Dumas on a flight from Paris to London.
As the story goes, Birkin struggled to fit her belongings into her handbag, prompting a conversation with Dumas about the lack of practical yet stylish bags for women.
Inspired, Dumas designed a spacious, elegant tote tailored to her needs and named it the Birkin in her honour.
What began as a functional fix quickly transformed into one of the most coveted fashion items in the world, combining exceptional craftsmanship, exclusivity, and timeless allure.
The bag with a backstory (and a backlash)
A wine-red Hermès Birkin bag with colourful bag chains outside Miu Miu Show during the Womenswear Fall/Winter 2024/2025 as part of Paris Fashion Week on March 05, 2024, in Paris, France. Picture:The Birkin's origin story is as glam as its owners. Jane Birkin found herself struggling to keep her belongings from spilling out of her handbag during a flight. Seated next to her was then-Hermès CEO Dumas, who decided on the spot to design a bag worthy of her name, and capable of carrying an entire universe.
Thus, the Birkin was born.
Named after an icon, made for icons—yet even icons can't always get their hands on one.
The price of entry
In South African terms, a standard Birkin starts at around R180 000, but can easily skyrocket past R2 million depending on size, material (exotic crocodile or ostrich, anyone?), hardware (gold? diamonds?), and scarcity.
Yes, you read that right. Two million rand. For a handbag.
But even if your account says 'approved', Hermès might still say, 'Not today, sweetie'.
The infamous waiting game
Maria Rosaria Rizzo carries an orange leather Birkin bag by Hermes. Paris, France. Picture:Getting a Birkin isn't as simple as swiping your black card. Hermès doesn't advertise them, and stores don't display them. You can't order one online.
There's no catalogue.
There's no list. There's just… vibes. You build a relationship with your local Hermès boutique over time, buying other items, showing loyalty, and maybe, just maybe, they'll offer you the honour of buying a Birkin.
It's the world's most luxurious loyalty programme, with no guarantees and no points.
Even Oprah heard 'No.'
Here's the wild part: Oprah Winfrey was famously denied entry into a Hermès store in Paris in 2005, allegedly because it had just closed. But many believe it was also a case of the brand's high gatekeeping culture. Oprah. Turned away. What hope do the rest of us have?
Which brings us to the next question…
How many Birkins are real?
A view of Hermès Birkin bags on display. Picture:Take a scroll through Instagram, and you'll be led to believe Birkins grow on trees in Johannesburg and Lagos.
But with fakes (and 'superfakes') flooding the market, it's hard to know what's real. Hermès doesn't authenticate bags bought second-hand, and most celebs rarely confirm or deny their Birkins' provenance. So while that influencer in Bryanston may look like she's toting a R500k bag… is she?
One study suggests that over 80% of Birkins sold online are counterfeit, making that airport selfie with a crocodile Birkin more sus than stylish.
The Power of not being accessible
Grey Hermes bag outside Sacai during the Womenswear Fall/Winter 2024/2025 as part of Paris Fashion Week on 4 March 2024 in Paris, France. Picture:Hermès has built a brand where exclusivity is the ultimate marketing strategy. No flashy logos. No TikTok campaigns. No influencer gifting. The mystique is beside the point.
The idea that you have to be chosen by the brand to access it has made the Birkin more than just a fashion item; it's now an economic asset. Some even call it a better investment than gold.
Still, if you do get your hands on one? Guard it with your life. Or at least a very good insurance policy.
Because in the world of luxury, there are the rich.
And then there's Birkin-level.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


eNCA
13 hours ago
- eNCA
Versailles orchestra plays New York in 'Affair of the Poisons'
NEW YORK - Acrobatics, fortune tellers, opulent gowns and palace intrigue: The New York debut of the Versailles Royal Opera Orchestra was a performance befitting the era it recalls. Monday's immersive show "Versailles in Printemps: The Affair of the Poisons" centered on France's 17th-century period of excess and seediness that its creator, Andrew Ousley, told AFP has parallels to the present day. At the evening staged in Manhattan's new Printemps luxury emporium, guests and performers alike donned velvet waistcoats, silky corsets, feathered headdresses and powdered makeup. Core to the performance's tale was the discovery of arsenic, Ousley said -- the first "untraceable, untasteable poison." "Everybody was just poisoning everybody." And at the web's center? A midwife and fortune teller named La Voisin, he said, a "shadowy-like person who basically would peddle poison, peddle solutions, peddle snake oil." "She was the nexus," Ousley continued, in a scheme that "extended up to Louis XIV, his favorite mistresses" -- inner circles rife with backstabbing and murder plots. The poisoning scandal resulted in a tribunal that resulted in dozens of death sentences -- until the king called it off when it "got a little too close to home," Ousley said with a smile. "To me, it speaks to the present moment -- that this rot can fester underneath luxury and wealth when it's divorced from empathy, from humanity." Along with a programme of classical music, the performance included elaborately costumed dancers, including one who tip-toed atop a line of wine bottles in sparkling platform heels. The Versailles Royal Opera Orchestra formed in 2019, and its first stateside tour is underway: the series of shows kicked off at Festival Napa Valley in California before heading to New York. On Wednesday, it will play another, more traditional show at L'Alliance New York, a French cultural centre in Manhattan.

TimesLIVE
2 days ago
- TimesLIVE
Microsoft to showcase Notre-Dame Cathedral in digital replica
Microsoft is teaming up with the French government to create a digital replica of Paris's Notre-Dame Cathedral, France's most visited monument, the US tech company's president Brad Smith said on Monday. The 862-year-old Gothic masterpiece was reopened last December after a five-year restoration after a devastating fire in 2019. A digital replica will serve as a record of the building's architectural details, Microsoft said. It will also provide a virtual experience for visitors and those unable to visit. The cathedral became a symbol of Paris and France after Victor Hugo used it as a setting for his 1831 novel The Hunchback of Notre-Dam e. Quasimodo, the main character, has been portrayed in Hollywood movies, an animated Disney adaptation and in musicals. Last year Microsoft worked with Iconem, a French company that specialises in digitalisation of heritage sites, on a digital replica of St Peter's Basilica in Vatican City. 'One of the things we learnt from the work at St Peter's is how a digital twin can help support the ongoing maintenance of a building. Because you capture a digital record of every centimetre and what is there and what it's supposed to look like,' Smith told Reuters. 'The ability to create a digital twin right now I think will provide an enormously valuable digital record that I believe people are going to be using 100 years from now,' he said. Since 2019 Microsoft has digitally preserved heritage sites and events, including:

IOL News
5 days ago
- IOL News
Lights, camera… cut as local TV fears fading out
Veteran actor and chairperson of the South African Guild of Actors, Jack Devnarain, voices concern over the Canal+ and MultiChoice merger during the Competition Tribunal hearings, warning that local creatives - particularly actors - risk being sidelined in an already unregulated industry. Image: Supplied Local creatives fear being sidelined as French media giant Canal+ moves to merge with MultiChoice - a deal that could reshape South Africa's TV industry and put local jobs and content at risk. Actors, filmmakers and industry bodies say the deal lacks clear guarantees for local content production, fair pay, and intellectual property rights, warning that without regulation, foreign control could come at the cost of local voices. The Competition Commission Tribunal hearing this week, will focus on public interest clauses of the merger, especially around commitments to support local content creators and historically disadvantaged persons (HDPs). Regulators and commissioners sought to understand how local content creators and HPDs will be supported under the merged entity. Canal+ and MultiChoice had committed to obligations to continue procuring goods and services from a diverse group of beneficiaries, including HDP firms, small and medium enterprises (SMMEs), and South African content creators. Concerns were raised during Thursday's hearing on whether the wording under Clause 7 of the merger conditions was explicit enough to assure beneficiaries - particularly local content producers - that they are covered under the commitments. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Next Stay Close ✕ The Competition Tribunal panel also queried Canal+ and Multichoice on the basis for monetary commitments related to local content procurement and HDP participation. However, specific amounts set for this by the merging parties remain confidential, although they explained that these figures were derived from historical and projected expenditure data covering a three-year period. They said they had made financial commitments to reflect average spend based on past and future spending to ensure that support for local content and HDP firms is maintained - not diminished - after the merger. 'To be clear, these are not additional or new commitments - they are meant to safeguard ongoing procurement activity, especially given that there was no certainty these would continue if the merger didn't proceed,' explained the merging parties.' These commitments are part of a broader set of public interest conditions tied to the merger, designed to ensure that local economic development, transformation, and content diversity are not compromised by foreign control of one of Africa's largest media platforms. However Jack Devnarain, veteran actor and chairperson of the South African Guild of Actors, said they didn't have any expectations of Canal+ which was here to 'play the game' in an unregulated industry, which he believes was a 'huge attraction' for them. 'From the actor's point of view, we are always suspicious of mergers such as this because typically, given that we are in an unregulated industry, it means that actors are the last to get any benefit whatsoever from the transaction. 'We are the last to have our rights protected in any way, and we are deeply concerned that while all this content is going to find a new home, that actors are going to be left without new opportunities for work.' Devnarain said that Ideally they would like to engage with Canal+ on various issues like a new contractual agreement in which they can secure commercial exploitation fees in contract, and even if old content is re-versioned and dubbed, that actors will receive some residual income. 'We're not optimistic about that at all, simply because we know Africa, African content, African filmmakers and broadcasters are typically the ones to be exploited when it comes to the arrival of the European or American broadcasters or streamers. The Global North has always sought opportunities to exploit the content opportunities emanating from the Global South and Africa has always been ripe because we are incredibly diverse in our linguistic content, in the cultural content and in the incredible locations that we have.' Devnarain described it as a new form of colonisation where international conglomerates and corporate players from the Global North find wonderful opportunities in the Global South, and again exploit the talent that comes out of South Africa and Africa, without compensating them. The merger between Multichoice and Canal+ will be subject to a restructuring exercise under to ring-fence MultiChoice's licensed broadcasting entity, MultiChoice (Pty) Ltd. This unit will be hived off into a standalone company, LicenseCo in line with local regulatory requirements. After settlement of the merger, the combined group will have no interest or control in LicenseCo. However, details of the this carve-out structure for LicenseCo remain confidential. LicenceCo will be majority-owned by previously disadvantaged and black economic empowerment companies, with MultiChoice Group holding a 49% interest. Canal+ has however previously said that it was still engaging with Phuthima Nathi which has been earmarked to hold a 27% interest in LicenceCo although the board has already given its support for the transaction. Black-owned and managed companies, Identity Partners Itai Consortium and Afrifund Consortium, have also been roped into LicenceCo, bringing 'highly experienced leaders' with 'great commercial and industry' knowledge. Regulators are expected to consider these clarifications as they finalize their decision on whether the merger may proceed under South Africa's competition and public interest laws. The merger awaits final regulatory and competition approvals. Denvnarain said they are concerned that work that was already produced would be dubbed and sold to new markets and the actors not compensated for it. 'Because those rights didn't exist under the MNet or KYKNet agreements, we don't expect that Canal+ is going to come into South Africa and acknowledge rights that our own South African broadcaster refused to give us. So, we don't see the upside as actors unless we are creating new content for the new owners under a new contractual regime where we are able to secure commercial exploitation rights. 'And again, it's unheard of to secure commercial exploitation rights in a contract if your industry itself is an unregulated industry.'