Shebag has just completed a new batch of replica Hermès Picotin bags, including today’s white model. The Hermès Picotin may look simple, but the thickness of the leather, its pliability, and the accuracy of the pattern cutting are all critically important. The final form must be absolutely identical to the authentic bag.

For open-top bucket bags like the Picotin, visually, it seems to be just “a few pieces of leather + a strap.” However, the real difficulty lies here:

Even with the same pattern, a difference of 0.2mm in leather thickness, a single grade difference in softness, or a deviation of 0.5mm in cutting will result in a completely different “aura” or temperament. Below, I will discuss the craftsmanship details from the perspective of a “high-end bucket bag,” focusing on principles and key points, without targeting or guaranteeing the replication of any specific brand.

I. Leather Selection and Thickness Control

Leather Type and “Personality” The challenge with this type of bag is to achieve a structure that is soft and fleshy (substantial) but doesn’t lose its shape like a cloth sack. Therefore, the leather must meet three conditions:

1. Full Grain & Elasticity: Similar to the characteristics of Togo, Clemence, or Negonda leathers (small-grain pebbled cowhide is also common for smaller bags).

2. Soft Touch: It should feel soft to the touch and resist forming dead creases or white stress marks when folded.

3. Inherent “Fleshiness” (Substance): It must have enough body to stand on its own without requiring heavy lining.

Craftsmanship Points:

• Consistency: For a single bag, always try to use leather from the same hide or the same batch. This ensures consistent color and grain size.

• Zoning (Belly vs. Back): Pay close attention to the distinction between “belly” and “back” leather. Belly leather is too soft and is better suited for the middle of the bag body; areas near the bottom and the handles require the stronger, firmer parts of the hide.

Thickness Range & Uniformity If the body of a bucket bag is too thin, it will collapse; if it’s too thick, the folded opening will be stiff and unnatural. Generally:

• Splitting: The whole hide is first run through a splitting machine to control the thickness within a range suitable for “unlined” bags (e.g., the 1.8–2.2mm range is common for handmade bags, though this is not a specific brand standard).

• Skiving: Areas that need to be folded, such as the rim, folded edges, and handles, are locally skived (thinned down), for example to 1.4–1.6mm, to avoid bulky, thick folds.

• Uniformity > Absolute Thickness: “Uniform thickness” is more important than the exact millimeter count.

  • If the side panels are thicker on one side than the other, the bag will naturally lean to one side.

  • If the handles are asymmetrical in thickness, the rim will twist when carried.

Hand Feel Adjustment

• Too Hard: Can be slightly milled (tumbled) or hand-rubbed to increase softness, but the fibers must not be “loosened” too much, or the bag will lose its “bone” (structure).

• Too Soft: Sometimes a very thin layer of interlining (like non-woven fabric or thin textile lining) is bonded to the back to add some “resilience,” but stiff board lining should never be used, as it ruins the character of this type of soft bucket bag.

II. Pattern and Cutting Precision

The geometric pattern of a bucket bag is simple, but the requirement for “precision” is extremely high.

Pattern Logic

• Body: Usually long strips joined by seams. When unfolded, it looks like a “rectangle + curved bottom” or a “long strip with curvature.”

• Bottom: Can be a separate stitched bottom piece or formed by folding the bag body.

• Side Seams & Bottom Corners: The angle of these seams determines whether the finished bag is a “square bucket” or a “slightly round bucket,” as well as the three-dimensionality of the four corners.

Cutting Precision Requirements

• Length Error: Ideally controlled within ±0.5mm. It is best if all main panels of the same bag achieve this level of precision. Otherwise, during assembly:

  • If one piece is slightly long, the rim will warp or wave after stitching.

  • If the bottom is slightly short, the bag body will pull inward, looking like it has a “cinched waist.”

• Symmetry: Left and right pieces must be mirrored perfectly. Holes, openings, and handle slots must rely on the same positioning jig.

• Hole Positioning: If handle holes, lock holes, or metal hardware positions are even slightly off (high or low), the lock won’t hang center when the bag is carried, instantly making the overall look “cheap.”

III. Skiving, Folding, and Edge Paint

For bags like the Picotin, the edges are a visual focal point. Poor edge finishing makes the bag look cheap from a distance.

Skiving Sequence First cut the leather according to the pattern, then perform local skiving:

• Rim Folding Area: Must be skived to a uniform thickness after folding, otherwise the edge paint line will be uneven.

• Handle Ends & Connection Points: Must be skived with a transitional slope (feathered edge) so that after folding, it has strength but doesn’t look like a hard lump.

Folding and Bonding

• Before Bonding: Lightly sand the edges to ensure smooth lines after folding. Apply glue evenly and thinly; avoid glue clumps to prevent future bubbling or bulging under the edge paint.

• During Folding: Use a bone folder or plastic presser to compact the fold evenly, especially on curved parts. Correct the curvature while pressing to ensure that, when viewed from above, the folded edge is a clean curve.

Edge Paint Treatment Usually requires multiple passes: Base coat → Sanding → Top coat 1 → Sanding → Top coat 2 (or even 3) → Final light polishing.

• The point isn’t “how many coats,” but rather:

  • Each coat must dry completely before the next.

  • Sanding should maintain a slightly rounded edge, not a sharp “knife edge,” ensuring a comfortable tactile feel.

IV. Saddle Stitch and Stitch Spacing

Much of the temperament of a high-end bucket bag comes from the rhythm of the stitching.

Stitch Spacing (SPI) & Thread

• SPI: Generally chosen in a refined range (e.g., 7–9 stitches per inch, a common range for high-end handmade goods, not specific to any brand).

• Thread Thickness: Match the thread to the leather thickness. For thinner leather, use thread around 0.45–0.5mm. Too thick looks crude; too thin lacks presence.

Grooving & Punching

• Grooving (or light creasing): Allows the thread to sit slightly embedded in the leather surface. This protects the thread from wear and looks neater visually.

• Punching:

  • Holes on both sides must align; otherwise, the stitching will look wavy from the side.

  • Hole spacing must be consistent to avoid a broken rhythm where stitches are tight in one area and suddenly loose in another.

Finishing & Corners

• Finishing: At the four corners or the base of the handles, the finishing method must be uniform. Backstitch two stitches, cut the thread, tuck the end into the hole, and press lightly with an awl so no fuzz is visible.

• Corners: Stitch spacing at corners doesn’t need to be forced to match the straight lines perfectly. It can be slightly adjusted, but visually it must “follow the turn” smoothly and not look crowded.

V. 3D Structure and Shaping

The Picotin looks soft, but when placed on a table, it must “stand straight with smooth lines.” This relies not on thick board lining, but on overall proportion and process control.

Bottom & Side Panels

• The bottom usually has a slight curvature or corner trimming, which helps the four corners stand up naturally after shaping.

• Independent Base Board (Leather + Thin Lining):

  • Cannot be too hard, or the bag looks like a “bucket.”

  • Cannot be too soft, or the bottom will bulge and deform when loaded.

Shaping Process After stitching the main body:

1. Insert an internal mold (wood/foam) that closely matches the shape.

2. Manually adjust the curvature of the four corners to set the bag’s “structure.”

3. Let it sit for a period of time so the leather “memorizes” the shape under slight tension.

• A truly good pattern + craftsmanship means the bag achieves a natural balance after use. It looks good no matter how it’s used and won’t lose its shape easily.

VI. Handles and Stress Points

The handles are crucial; they determine the “posture” of the bag when carried.

Position and Length

• Length: Must match the bag height. Too short, and your hand hits the rim; too long, and the bag droops, ruining the lines.

• Position: Must be symmetrical to the bag’s center line. If the distance from the handle base to the center line differs, the bag will tilt when carried.

Reinforcement

• Connection Point: The back of the handle connection usually needs reinforcement. A hidden reinforcement leather or thin lining can be added to increase the load-bearing area.

• Stitching Path: The stitching path at the connection node must be logical to avoid creating a “break point” at any single hole.

VII. Hardware, Lock, and Visual Center

Although the Picotin structure is simple, the positioning of the lock, bottom studs, and other hardware critically affects the “premium feel.”

Lock & Rim Center

• The lock and strap holes must be arranged around the bag’s center line.

• The relationship between the lock and handles during movement must look natural. If the strap hole is too high, the lock sits awkwardly; too low, and it looks like it’s hanging off the “belly.”

Bottom Studs

• The height, quantity, and spacing of the feet must be consistent.

• Use a jig for positioning during installation to ensure all four feet are on the same plane, so the bag doesn’t rock easily when placed on a table.

VIII. Final Inspection: Judging “Form and Spirit”

Without discussing specific brands, from the perspective of a high-end bucket bag, at least these points must be checked before leaving the factory:

Silhouette

• Front View: The curves of the opening on both sides are symmetrical. The bottom corners are symmetrical, curves are continuous, and there is no “sagging on one side.”

• Side View: The bag body tapers slightly inward, looking like a soft trapezoid, not a straight-up-and-down cylinder.

Rim & Edge Lines

• The rim is smooth without obvious waves.

• Edge paint has consistent gloss, uniform thickness, and no exposed base, bubbles, or cracks.

Hand Feel

• Empty: Squeeze the bag body; the middle section should feel “soft yet resilient/springy.” Not stiff like cardboard, nor limp like a cloth bag.

• Lightly Loaded: The bag body sags slightly but the overall silhouette remains; the lines look natural when lifted.

Detail Consistency

• All stitching directions are uniform; thread ends are handled consistently.

• The interior is clean, free of excess glue marks or numerous scratches.