The New Luxury Archivists: A Conversation with @c.oventry

There’s a whole universe of luxury that never hits runways or resell charts, and it passes through thrift racks in various places, early-morning drops, and the hands of people who know exactly what they’re looking at. That’s the world @c.oventry comes from. Daryl, the founder of the luxury bag resale account, isn’t chasing trends; he’s building a catalog of bags that actually deserve to be called luxury. After all, we’re in a moment when global prices keep climbing and craftsmanship keeps slipping.

And that’s exactly why this interview feels timely. We’re living through a moment where luxury resale isn’t just sustainable, it’s aspirational. The thrill of finding something rare, archive-level, or simply the way things used to be made… that’s what’s making the resale space one of the most exciting corners of fashion right now.

Talking to Daryl pulls you deeper into that world. He shows how this era of luxury resale is more than flipping bags, it’s about taste, research, cultural memory, and a kind of cool, obsessive dedication that keeps fashion honest. His picks remind you that luxury didn’t die; it just moved. And the people paying attention — people like him — are the ones keeping it alive.

I’m Daryl, the curator behind @c.oventry. I’m from the Philippines, and I’ve been exploring how far I can push my eye and my archive within the limits of the capital I’m willing to invest.

How did you first start sourcing pieces, and what drew you to buying and discovering designers?

I am a collector first. I opened this account in April 2025. In my youth I worked as a lifestyle writer and stylist, so I already knew many designers. What pulled me deeper into buying was not only the designers but the bags themselves and the unreasonable rise in global luxury prices. Vintage and older models often have better craftsmanship than many newer releases, and that quality is what I look for.

When you are looking for new brands, what catches your attention first: design, story, materials, or something else?

I focus on brands I already know well. The rediscovery of past creations excites me the most. Style comes first, together with the materials used. The story matters less to me. I think the bag’s condition shows how well it lived, and the detailed history does not interest me.

How do you balance instinct with data or demand when deciding what to stock or resell?

I follow my principles first. I stock only what I am willing to keep and I accept the amount of capital I am willing to lose. I avoid listing bags that many other sellers in the Philippines already offer, since that is not why I started this small business. At the same time, I consider demand. For example, with the Chloé Paddington, I sold three in April 2025 when demand was still low. When it was reissued, I had the capital and knew where to source them. It became a successful stock for me, and I still priced below the international market.

Are there specific regions, showrooms, or online spaces where you have found the most exciting pieces lately?

In the Philippines, many thrifters offer bags to online sellers. Some people buy with risk and then use third-party authenticators. Sometimes those thrift finds turn out to be authentic and rise sharply in value. I do not join bidding wars or “higher offer” practices. My rule is simple: if something is available at a reasonable price that still works after authentication, I will buy it. The Philippines is a great sourcing ground. Recently I have also sourced overseas through trusted contacts who reach out with fair offers.

What is a recent brand or piece that shifted the way you think about sourcing?

Christian Dior. Thrift stores here can sell clothes for 1 to 3 USD, yet on new-arrival days people line up early to grab potential treasures and offer them to sellers. I have seen rare early-2000s Dior Saddles and other Dior bags come from thrift and authenticate as genuine. A rare Saddle might sell internationally for 2,000 to 4,000 USD, while a dedicated thrifter here is able to procure it for less than 500 USD and could offer it to sellers for 800 to 1,000 USD. This changed my view of thrifting and of sourcing in general. Sourcing really takes a passionate time and to some extent maybe a team of thrifters.

How has your understanding of “luxury” changed through your work?

Luxury is craftsmanship, and it should stand the test of time. With recent concerns about quality, my experience buying both vintage and brand new has reinforced this. Many older pieces show a level of workmanship that outperforms much of modern production.