Leather is my material; curiosity is the method. These pieces explore marquetry, structure, color, and the small decisions that give an object character.
Built one small piece at a time, this project turns an illustrated character into a tactile leather composition. I made it for my son, who loves collecting and trading Pokémon cards. As his collection grew, I wanted to create something lasting—an object he could keep for a lifetime and perhaps one day pass down to future generations. The work lives in the cutting, the fit, and the patience required to make every edge belong.
Scarlet is the original version of my first top-handle purse design, inspired by the timeless structure of Kelly and Céline bags. Made from fine French goatskin and stitched entirely by hand, it features a gold plated stainless still key lock clasp and a matching clochette that holds the key. The design explores how color, proportion, and movement can give a classic silhouette its own distinct character.
Built around a luminous Swarovski crystal lock, this clutch pairs a restrained envelope form with a side-gusset construction that was new to my practice. One edge of the gusset turns inward and is stitched to a second layer of leather, creating the sculpted, framed profile visible from the side. Inside, I used a matte, lightly pigmented silver lambskin. I wanted the surface to catch the light more like reflections moving across a stream of water, so I gilded it by hand with silver foil, creating a brighter, more fluid finish. The finished piece brings together structure, light, and subtle personalization in a commissioned clutch made specifically for its owner.
Originally made for my husband, this tool roll began as a prototype for the off-roading community. Its defining feature is the box-stitched construction—a demanding hand-stitching technique used to form and reinforce the structured ends. Made from Italian leather with replaceable waxed-canvas inserts and stainless hardware, the time-intensive construction ultimately made it better suited to being an heirloom than a production piece: an object to be used, carried, kept, and eventually passed down.
The Summy Backpack began with a client’s unused purse. I carefully repurposed its quilted leather as the backpack’s flap, then created a coordinating buckled handle to complement it. Soft Napa leather forms the body, while a reinforced back panel gives the bag its semi-structured shape—allowing it to remain supple without slouching or losing its form.
I made this Mini Dr.’s Bag while taking Leathercraft Master Classes with Philip Jury. At the time, it was one of the most complex pieces I had attempted, and I believe I was only the second student to complete the design. I formed the metal frame by hand over a wooden jig I made specifically for the project, then assembled the hinges with individually hand-hammered rivets. The handle was constructed traditionally from three layers of leather, similar to those found on classic attaché cases and fine luggage. Finished with an Avalon hasp lock, the piece became a study in traditional case-making, structure, and precision. For this first attempt, I chose smooth automotive leather so I could focus on the engineering of the unfamiliar construction before committing a more expensive hide.
Not every idea begins as a bag. Dye, molding, lining, edge work, and proportion are tested through smaller objects where material can speak clearly.
