FENDI has brought the Baguette® 26424 Re‑Edition to New York City, celebrating the bag’s latest chapter with an intimate, gallery like event that united friends of the Maison, celebrities and cultural voices at its Madison Avenue flagship. Following presentations in Milan and at Shanghai IFC, the New York stop extends the global journey of a reimagined icon that frames personality as the ultimate expression of beauty.
From Milan and Shanghai to Madison Avenue
The Baguette® 26424 Re‑Edition was first unveiled during Maria Grazia Chiuri’s Fall/Winter 2026–27 collection and showcased in depth at Palazzo FENDI during Milan Design Week 2026, where 20 iterations of the bag were presented in an installation dubbed The Baguette Lab. Fourteen of those variations are now touring internationally through dedicated pop ins at Milan Montenapoleone, Shanghai IFC and New York City’s 57th Street and Madison Avenue boutiques.
After its debut in Milan and a subsequent stop in Shanghai, the Baguette 26424 arrived in New York, where FENDI staged an evening tribute to the design at its Madison Avenue flagship, offering guests a first look at the New York edit of the Re‑Edition collection.
A constellation of FENDI friends in NYC
The New York celebration drew a constellation of guests, including Blake Lively, Olivia Wilde, Amelie Zilber, Delilah Belle Hamlin, Ella Hunt, Esther McGregor, Ivy Getty, Lily Chee, Lux Pascal, Michael Rainey Jr., Renée Bellerive, Stephani Hui and Tessa Brooks. Vogue reports that Lively and Wilde “bonded over Baguettes” during the evening, underscoring how strongly the bag still functions as both accessory and cultural signifier almost three decades after its 1997 debut.
Short videos and event images show guests arriving with Baguette bags in hand, moving through the installation and The Baguette Lab, where different 26424 variations were displayed like pieces in a contemporary archive.
Scenography inspired by art crates and ateliers
The event scenography drew from art transport cases and atelier aesthetics, turning the space into a hybrid between a packing room, archive and studio. Display modules evoked wooden crates and protective foam, while lighting and layout recalled the behind the scenes world where couture pieces are handled, restored and prepared for travel.
This approach reinforced FENDI’s narrative around the Baguette 26424 as both art object and working bag something precious enough to warrant museum handling, but alive in everyday life on the streets of New York’s avenues. The result was an environment that mirrored the Maison’s ongoing dialogue between artistry, innovation and Roman savoir faire, transplanted into a distinctly NYC energy.
What “26424” means and how the Re‑Edition works
According to FENDI, the number 26424 references the date 26.4.24, the day the project was formally unveiled, and signals a new, coded chapter in the Baguette’s history. The Re‑Edition expands the bag “beyond a single signature look,” offering 20 variations that reinterpret the original through materials, construction and detailing.
Personality as the freest form of beauty
The Maison describes the Baguette® 26424 Re‑Edition as a celebration of “personality as the greatest, freest expression of beauty”. In practice, that means treating the bag as a modular icon that can support multiple identities rather than insisting on a single, canonical version.
In New York, this message was echoed by the diversity of guests and styling: the same Baguette concept appeared with denim, tailoring, sculpted dresses and downtown casual looks, underscoring its ability to move between rigor and freedom, refinement and daring, sparkle and understatement.
By taking the 26424 tour from Milan to Shanghai and now New York, FENDI positions the Re‑Edition not just as a product drop, but as a travelling conversation about what it means for an accessory to become a global portrait of individual style in 2026.
