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Add Texture to GoogleA 127% increase: that figure applies to Fendi’s Spy bag, whose average resale value has skyrocketed in Fashionphile’s 2026 data. This is a far more dramatic shift than a change in ranking on a list. Against the backdrop of a resurgence in 2000s aesthetics, this model serves as a reminder that the secondhand market operates on its own timeline. Some pieces enjoy a steady rise in value over time; others experience a sudden surge in value. In this market, luxury is seen less as a succession of collections and more as a battle to remain desirable—or to regain that status.
The Price of a Comeback
The case of the Spy provides a particularly illuminating entry point into the American platform’s report. Its rise coincides with a resurgence of interest in the Y2K aesthetic—that of the 2000s. The past, therefore, is not merely a reservoir of available products: it is once again a source of desire. A model can regain value when the perception of its era changes.
However, this surge must be interpreted for what it signifies. The 127% figure refers to an average resale value, not an increase in the number of bags sold. Nor is there any reason to assume that every Spy bag would follow this exact trajectory. Distinction matters in a world where commercial success, market value, and investment potential are often conflated. Here, the figure documents a spectacular revaluation, without guaranteeing its longevity.
That is the whole point of this snapshot from 2026: it shows several forms of success coexisting. The best-selling bag is not necessarily the one whose value is rising the fastest. And the one that exceeds its retail price follows yet another logic. These differences are more revealing than a single ranking of the top-performing brands.
A snapshot of the market, not the whole picture
The data comes from Fashionphile, a U.S.-based specialist in the secondhand market. Its offerings include handbags, shoes, watches, jewelry, and accessories. The company sells internationally online as well as through brick-and-mortar stores and has a long-standing partnership with Neiman Marcus. This scope allows for the comparison of categories that are often examined separately.
The report is based on information gathered from its sellers and includes generational, geographic, and stylistic insights. The results presented, however, represent data from a single platform and are not an exhaustive account of all pre-owned luxury transactions. This caveat does not diminish the report’s value; it simply encourages readers to view the rankings as concrete indicators of the platform’s customer preferences rather than as universal verdicts.
Jewelry Reveals a Different Hierarchy
Before even returning to handbags, a detour into jewelry reveals the strength of certain design families. Cartier takes first place in rings with the Love collection, ahead of Hermès’s Chaîne d’Ancre Enchaînée and Chanel’s Coco Crush. On the wrist, the order changes: Van Cleef & Arpels’ Vintage Alhambra bracelet takes the lead, followed by Hermès’ Clic Clac, then Cartier’s Love.
The “Love” name thus appears in two rankings, but at different positions. The same phenomenon applies to “Alhambra”: while the Vintage Alhambra leads the bracelets, the Sweet Alhambra ranks third among earrings. In this latter category, Hermès’s Farandoles outrank Louis Vuitton’s Louise hoop earrings. A line’s brand recognition therefore does not yield consistent results depending on the specific piece of jewelry.
Hermès stands out for its presence on each of these three podiums. The brand also ranks first in footwear thanks to its Oran sandals, ahead of Gucci’s Ace sneakers and Louis Vuitton’s Star Trail ankle boots. These results shift the focus: according to Fashionphile’s data, Hermès’s presence extends far beyond leather goods alone.
Watches Defy Expectations
The watch rankings reveal another shift. The best-selling model is the Hermès Clipper, ahead of Cartier’s Panthère and Gucci’s Interchangeable Bezel. This top three should be interpreted at face value: it reflects sales data observed by Fashionphile, not a hierarchy of mechanical performance or watchmaking prestige.
It also highlights how the same brands appear across multiple product categories. Hermès leads here, just as it does in shoes and earrings; Cartier ranks among watches after rings and bracelets. Gucci appears with both its Ace sneakers and the Interchangeable Bezel. In this ecosystem, the desire for a signature brand manifests itself across very different products, without their respective successes overlapping.
The Speedy Holds Its Ground, While the Competitors Shift
When it comes to handbags, the strongest result is also the least spectacular on the surface. Louis Vuitton’s Speedy retains the top spot in sales for the second consecutive year. Its value has risen by 16.2% year-over-year. Two indicators thus converge: a sustained market position and rising value. The Spy’s surge catches the eye; the Speedy’s consistency speaks to a different kind of strength.
Behind it, Chanel’s Double Flap holds onto second place. Prada’s Re-Edition, on the other hand, has moved up from eighth to third place. This rise significantly reshapes the top of the rankings, though it does not dethrone the top two. The secondhand market does not choose between continuity and renewal: both trends occur simultaneously there.
Further down the list, Goyard’s Saint Louis enters the top ten best-selling bags, landing directly in seventh place, while Celine’s Ava drops out of this group. Falling out of the rankings does not mean disappearing from the market. But these shifts show just how much the composition of the rankings can change around models that, for their part, remain firmly at the top.
At Chanel, new releases command a premium over retail prices
The most paradoxical phenomenon, however, concerns Chanel. With Matthieu Blazy’s arrival as creative director, certain models designed by him are reselling for more than their retail price. According to Fashionphile, buyers are paying a 13% premium for the Souplissimo and the Archetype Tote. For the Urban Essentiel, the markup reaches 15%.
In these specific cases, therefore, the secondhand market is not a cheaper alternative. It has become a channel where buyers are willing to pay more than the retail price. The available data is insufficient to determine the specific reasons for this willingness to pay. However, it does show that the arrival of a new creative director can lead to an immediate increase in the value of his designs on the resale market.
Chanel thus presents two sides in the same report: one of continuity, with the Double Flap still ranking second in handbag sales, and one of enthusiasm for Blazy’s designs. For the buyer, the comparison becomes very concrete. For the models in question, looking for a secondhand piece means accepting a moderate premium: 13% or even 15% above the retail price.