I create, I make, I work with plants, I farm. I work at the intersection of ecology, culture, and art restoring coherence by placing ideas, systems, and work in forms that can hold truth, beauty, and consequence over time.
L E A T H E R
IS MY WAY OF PRACTICING ATTENTION
I work with leather not because it is beautiful (though it is) but because it forces me to reckon with where beauty comes from. A hide carries the history of land, of grass and water and labor, of systems that are often kept politely out of view once something becomes an object we wear or carry. Fashion tends to sever that story, presenting beauty as surface. Agriculture makes that severance impossible. Leather lives in the tension between the two.
When I farm, I am reminded that nothing exists in isolation. Soil health determines plant health. Weather reshapes intention. Care accumulates slowly, invisibly, until it becomes something you can hold. Working with leather asks for the same kind of patience. It resists shortcuts. It records pressure, time, use. It changes as it’s lived with, it behaves less like an accessory and more like a relationship.
I’m interested in how beautiful things can return us to this awareness—not as decoration, but as contact. What we wear and carry every day touches our bodies more consistently than most landscapes do. These objects move through cities, across borders, into rooms where the natural world is often abstracted or absent. And yet they originate in living systems. They are evidence that we remain entangled with ecosystems even when we forget to name them.
Leather, for me, becomes a bridge between farming and fashion, between cultivation and aesthetics. It’s a reminder that beauty does not float above the world—it is grown, raised, tended, shaped. To make something beautiful is not to escape nature, but to participate in it. Even the quiet act of choosing what we carry can become a way of remembering that everything is connected, and that we are never as separate from the earth as we imagine ourselves to be.
When I farm, I am reminded that nothing exists in isolation. Soil health determines plant health. Weather reshapes intention. Care accumulates slowly, invisibly, until it becomes something you can hold. Working with leather asks for the same kind of patience. It resists shortcuts. It records pressure, time, use. It changes as it’s lived with, it behaves less like an accessory and more like a relationship.
I’m interested in how beautiful things can return us to this awareness—not as decoration, but as contact. What we wear and carry every day touches our bodies more consistently than most landscapes do. These objects move through cities, across borders, into rooms where the natural world is often abstracted or absent. And yet they originate in living systems. They are evidence that we remain entangled with ecosystems even when we forget to name them.
Leather, for me, becomes a bridge between farming and fashion, between cultivation and aesthetics. It’s a reminder that beauty does not float above the world—it is grown, raised, tended, shaped. To make something beautiful is not to escape nature, but to participate in it. Even the quiet act of choosing what we carry can become a way of remembering that everything is connected, and that we are never as separate from the earth as we imagine ourselves to be.
PREORDER THE BAG
These bags are hand made by me in small slow batches as a practice of play, love and creativity. Made to order. Preorders open periodically for limited times. If the product says SOLD OUT, please sign up for the announcement of the next preorder.
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I’ve always appreciated craft—the act of materializing something from a thought or need.
I first made this bag last year while looking for something to travel with: adjustable, durable, able to carry a laptop, and sturdy enough for an adventure biking and hiking. That first version traveled with me through more than ten countries. It crossed the Williamsburg Bridge by bike, hiked mountains in Lisbon, rested in forests in Pacentro, sat in parks in Copenhagen, and along rivers in Basel. It boarded over thirty flights, carried daily essentials, and collected the marks of memories and use along the way.
Dimensions: 61cm/24” x 35cm/12” (Can fit a 16inch Macbook Pro)
Strap Length: 45.5cm/18" (shortest) 71cm/28" (longest/a snug cross body)
Hardware: Silver
All bags are made from deadstock and/or intentionally sourced leather tanned in Tuscany, from cattle in France and Northern Europe
All bags are hand made in Canada
All bags have a lifetime warranty
I first made this bag last year while looking for something to travel with: adjustable, durable, able to carry a laptop, and sturdy enough for an adventure biking and hiking. That first version traveled with me through more than ten countries. It crossed the Williamsburg Bridge by bike, hiked mountains in Lisbon, rested in forests in Pacentro, sat in parks in Copenhagen, and along rivers in Basel. It boarded over thirty flights, carried daily essentials, and collected the marks of memories and use along the way.
Dimensions: 61cm/24” x 35cm/12” (Can fit a 16inch Macbook Pro)
Strap Length: 45.5cm/18" (shortest) 71cm/28" (longest/a snug cross body)
Hardware: Silver
All bags are made from deadstock and/or intentionally sourced leather tanned in Tuscany, from cattle in France and Northern Europe
All bags are hand made in Canada
All bags have a lifetime warranty