The Salmon Handbag is built from twelve panels of three skins each - cut, arranged by colour, and sewn into a single continuous piece. The composition is considered: the natural variation in tone across the skins becomes a surface pattern in itself, no two bags ever quite the same. A wooden mould, fabricated by me, inspired by the process of traditional Japanese paper lanterns, served as the mannequin - the pattern drafted directly around it, the form emerging from the structure rather than imposed upon it.

Once sewn, the piece was rehydrated and moulded around the form, the skin drawing itself into shape as it dried - a process inspired by traditional leather moulding. From there, the work became quiet and slow. Hand-finishing, tidying edges, closing seams. The final stage always the most intimate with the hands closest to the material.