With Hunting Season, Danielle Corona quickly caught the eye of the style-savvy fashionistas.
MONNIER Frères: How did you start?
Danielle Corona: Growing up, I always had a creative streak, but it wasn’t until years later, in my early twenties, that I first ventured into this vocation. At twenty-four I chose to study accessories design, and I was fortunate enough to land internships in Rome at Valentino—where Maria Grazia Chiuri and Pierpaolo Piccioli were in charge of accessories—and at VBH, founded and designed by V. Bruce Hoeksema. During my time at VBH, I decided to start Hunting Season, inspired by the level of craftsmanship I witnessed at these companies and by the “hunt” for the best of the best—from expert traditional craftspeople to superior-quality raw materials.
M.F.: How did those internships influence your craft?
D.C.: When I was living in Italy, I was fortunate enough to visit leather factories in Florence (with Maria Grazia and Bruce themselves) and witness the execution of true Italian craftsmanship first-hand. The care and consideration that went into each piece; the artistry and precision. It was design in the purest sense, and I found it so inspirational. Soon after, when I started Hunting Season, I knew that I wanted to celebrate that meticulous approach to craft too. Sharing how our pieces come to be—where they’re made, who has a hand in creating them, where each element is sourced—is a part of what sets us apart, and what I hope to offer my consumer in everything we do. That, I feel, is the most comprehensive kind of luxury.
M.F.: Can you tell us a bit about Hunting Season’s unique aesthetic?
D.C.: I create timeless styles made to endure. I like to think of them as modern heirlooms. My designs are minimal to allow the craft and materials to speak for themselves. I’m drawn to materials that offer texture and interest—exotic leathers, woven straw, soft suedes—but our silhouettes are always rooted in simplicity. “Simplicity is the ultimate sophistication,” Leonardo da Vinci is known to have said, and I couldn’t agree more. When I’m designing a new piece, I like to imagine that it will complement the person wearing it and their own personal style. I think our refined approach makes space for this kind of personal interpretation.
M.F.: How did you come up with this original silhouette?
D.C.: Hunting Season’s most recognizable shape, the trunk, has become a staple of every collection. The design is my interpretation of the Balinese baskets I’ve collected and coveted for their proportions and practicality. I modernized the design by making the shape more structured and refined, and I designed a custom closure to elevate the final product, this has become the brand’s signature trademark. The idea is that every season I reimagine these core shapes in new colors and materials, making them just as collectable and covetable as my original inspiration.
M.F.: Who’s the Hunting Season woman?
D.C.: The woman I design for appreciates luxury, but she also values discretion. She isn’t asking for attention with her wardrobe, but she always gets noticed. She wouldn’t wear something that reveals a label or features a logo, as she doesn’t look to fashion as a status symbol. Instead, her status and style are articulated in her confidence—in all she carries within—and exhibited through her lifestyle. Her style is timeless and never tethered to trends. She collects beautiful things—clothing, artifacts—and values what she buys because of the work that goes into it creating it and the story attached to each piece. Our handbags are ideal for her because they’re designed to be season-less, and as a result, are an endlessly versatile addition to her wardrobe.
M.F.: The brand features many different styles. What’s your favorite? Why?
D.C.: I love our new Saddle it reimagines the classic crossbody silhouette with a slim profile and modern proportions. Edged in dramatic curves, it's designed to lay beautifully against the body, delivering a utilitarian ease with an artful approach.
M.F.: You were born in Florida and now work between New York and Bogota. How do you manage to get everything done?
D.C.: I am lucky enough to have a great team without which none of this would be possible. I love living in the Bogota, Colombia, the city where our handbags are made, which remains a constant influence on the brand’s aesthetic. Here I work with my design and development team, and we also own our own factory here, where we produce our bags. Our team in New York handles all of our day to day sales and press side of the business; It feels very typical in today’s world, with so much happening on the go, across time zones, etc.
M.F.:You were a Vogue Fashion Fund Finalist in 2018. How has this exposure benefited the brand?
D.C.: It was such a tremendous honor to be a finalist. I think it’s hard to quantify just how impactful it was for our brand, but I’m eternally grateful to have been included and for all that I learned in the process. This year, we have joined the CFDA as formal members, and I’m thrilled to be among so many American designers I admire!
M.F.:Do you remember the first accessory you possessed?
D.C.: Yves Saint Laurent Mombasa bag in black leather designed by Tom Ford. It was (and still is) a beautiful combination of craft and materials
M.F.:Do you remember the first accessory you created?
D.C.: Yes! It was a brass necklace in school I still have it.
M.F.:What accessory do you wish you had created?
D.C.: I am feeling drawn to shoes and jewelry. Its possibly the next step for us as I have been asked many times by our retailers and customers this was meant to be a long term plan but is feeling less long term these days. Hope to share news in the near future.
The most important thing for a woman: bag or shoes? Why?
D.C.: Bag! She carries it with her from day to night, and it contains so many important objects—some personal, some useful—that she’ll reach for throughout the day.