Interview with Lalage Beaumont

Lalage Beaumont, the British designer known for designing elegant and luxurious handbags, has carved a niche where timeless elegance meets modern practicality. As her label celebrates over two decades, Beaumont reflects on her journey—from early days at heritage houses like Aquascutum and Mulberry to building a brand beloved by women seeking confidence through impeccable fit and rich colour.

How would you describe the Lalage Beaumont woman?

She is different. She comes in all shapes and sizes—not just one type of person. When it comes to clothing, we have quite a traditional customer base. My work is fairly classic, so we’ve built a following among women looking for something smart and elegant. They know that’s what they’ll find in my brand.

The appeal of handbags is much broader, truly across the board. Ethnicity, age, and how people use them are all completely diverse. So, I couldn't possibly define the Lalage Beaumont woman when it comes to handbags because there isn't just one.

How did your journey in fashion begin?

I wanted to be a fashion designer from about age five—very young. I never really considered doing anything else.

After school, because I already knew how to cut patterns and had some technical knowledge, I tried selling some pieces to local shops. They told me I had talent and needed to attend art school, so I applied to a couple. I ended up at what’s now UWE, then Bristol Polytechnic, studying fashion and textiles.

From there, I was fortunate to get a job straight out of college at Aquascutum. I stayed there for eight years, left for six months and came back. Later, I moved on to other British heritage brands, did a stint at Jaeger, and eventually joined Mulberry, my first real exposure to handbags. I worked closely with the founder, Roger Saul, and was originally brought in for their ready-to-wear collection, but I got very involved in accessories. It was only in 2004, after so many years in Fashion, that I opened my brand.

That’s amazing. What was the very first piece you designed for your collection?

Remarkably, one of the very first designs—the Vicky Coat—is still in our collection. It’s our iconic piece. It can be worn over a dress for a wedding or styled with narrow trousers for an evening look. It’s versatile and timeless, which is why it’s lasted.

How do you choose the colours for your collections, especially for your latest one?

I think most designers have an innate gut feeling when it comes to colour. It’s less about trend forecasts and more about instinct—what feels right for the moment. If one colour dominated last year, you get a sense of what’s going to feel fresh next.

For the latest collection, yellow felt obvious. It's such a happy, uplifting colour. I’m not naturally drawn to wearing a lot of yellow myself, but I love what it brings. Once you lock in a leading colour, others fall into place—tones that sit well beside it.

Not everyone will wear a bold yellow, of course, but when it’s in a beautiful print with soft turquoise or a limey, shamrock green, it becomes wearable. That cohesion builds the whole collection.

There’s also this incredible tweed we’ve used—a fusion of red and orange. I’ve always adored red, pink, and orange together. It’s a striking mix, but the hues must be just right. I actually held onto the sample of that tweed for over 15 years. When the mill said they could still produce it, I knew this season was its moment.

So yes, colour choices come down to instinct, timing, and often just personal love.

Why is British craftsmanship such an important part of your brand?

I have a deep passion for preserving skills in the UK. It’s about supporting local industry, of course—but also about the flexibility it allows us. We can be responsive, and agile. There’s a tremendous pride in still being able to produce clothing here.

My one regret is not being able to make handbags in the UK. I’d love to. The quality is essential to me, and I’d pay more if the skillset were here—but sadly, it’s almost vanished. Mulberry does produce here, but it’s a different type of product. I’ve looked into it, and maybe someday, I’ll start my own factory and try to bring those skills back. But that’s a major long-term project.

Your handbags have a cult following. What makes them stand out?

In some ways, they aren’t wildly different, but the quality really does speak for itself. I care deeply about craftsmanship. From the very beginning, I was determined to offer the finest quality at an accessible price. Not "affordable" for everyone, I know—but accessible compared to the £5,000 designer price tag. Ours are more around £1,000.

It took time to find the right artisans in Italy and Spain who could deliver that level. I gravitate towards structured designs with clean lines and symmetrical detailing. That precision is key—it reflects who I am as a designer.

Lalage Beaumont has three shops now. What’s the experience like for customers visiting in person?

The in-store experience is very important to us. Every customer is a privilege, and we aim to make their time with us as special and enjoyable as possible. We pride ourselves on offering a service that’s warm, personal, and truly helpful.

If we don’t have the exact piece a client wants, we’ll try to make it, especially with clothing. We do many special orders. If you love a design but want it in another fabric or colour we're not currently offering, we’ll usually be able to do that for you. There’s a small surcharge, but the result is something completely unique.

With handbags, it’s a bit trickier—we’re exploring a bespoke offering, but it’s not available just yet. Still, we do listen. If several customers request a certain colour or style, it absolutely influences future collections.

We also offer pre-orders. Because we don’t produce in huge quantities, this helps clients reserve something they love before it sells out.

Your brand turned 20 recently—congratulations! How did you approach designing that anniversary collection? And what’s next?

Thank you! Yes, 20 years. It’s quite a milestone. This year is actually our 21st, so another reason to celebrate.

We’re introducing eveningwear—something that’s long overdue in the range. Many of our pieces are perfect for weddings, formal events, and elegant occasions, but eveningwear adds a new layer.

Weddings are evolving—some guests change for the evening, others don’t, and dress codes are more fluid now. So, cocktail and evening options make sense. It’s a new focus and a creative challenge that I’m really enjoying.

As for the future, I'd love to expand. But rather than opening more standalone stores, we’re looking at wholesaling in international markets. Our handbags, especially, have a strong following in the U.S. The challenge, of course, is tariffs and trade agreements, but if a UK–US free trade deal comes through, things could shift dramatically.

We already have a beautiful franchise store in Riyadh, Saudi Arabia. That’s exciting, our bags have always resonated with Arabic clients. I’d also love a presence in Paris.

Last question—what advice would you give to young women wanting to enter the fashion industry?

If you haven’t already started your own label, my advice would be: go and work for other companies first. Get experience. Learn from brands with heritage and structure. There’s so much opportunity today—American, French, Italian houses...it’s an incredible time to gain international exposure.

You learn so much from working for someone else—things you can’t get from a classroom. And that knowledge makes all the difference when you finally decide to start something of your own.