Introducing... Christiane Poulos of La Petite Poulette

This week, CLOG is proud to introduce to you Christiane Poulos of leather bag label La Petite Poulette. Christiane frequently participated in Craft Hatch during its early stages and has since gone on to stock at COUNTER, the Craft Victoria shop. It pleases us to no end when this happens, it's a bit like graduating isn't it!

Based in Melbourne, Christiane crafts her bags from her bedroom studio under the label La Petite Poulette. Using a variety of different natural and dyed sheep, cow, calf leathers (all of which are ridiculously wonderful to touch might we add), the real gem is perhaps the pop of colour that comes from the lining fabric. With quite a selection on hand, the hard decision would be deciding which lining is your favourite!

Without further ado, read away. Happy Friday everyone.

In the beginning…
It all began as a hobby. I’ve always been one of those people who go out shopping for particular things and then think “I could just make that”. So when I needed a new leather bag I decided to just make one myself. Then I started making bags for my friends, and then for my friends’ friends and it all took off from there.

I’ve been sewing since I was 10 years old, and after school I studied fashion and costume, but once I’d finished my studies I couldn’t work out what I wanted to do with myself. I’d always wanted to make a career out of doing something creative, so when the bag idea randomly became a business possibility I couldn’t help but give it a go.

It’s all in the name…
This will probably sound a little bit cryptic. La Petite Poulette means The Little Chick in French. One of my nicknames at school was Poulet (chicken), courtesy of my surname, and I’m the youngest in my family. My mother is French so it’s a bit of a shout-out to her, too.



About working with leather…
Working with leather has been both challenging and rewarding. It’s an unforgiving but very versatile material to work with. Having had no formal training in working with leather I’ve had to work out a lot of things along the way, like the magic of glue and the importance of eliminating thickness wherever possible. I started out sewing with softer sheep leather on my old domestic machine, and I had many broken needles and much heartache. I now work with an industrial lockstitch machine, and although I’m still breaking needles every once and a while, it has become a whole lot easier.

I have a tendency to work with the leather in the same way I would fabric, and this has been one of my on-going challenges. Being self-taught in leather craft I was always going to depend heavily on my fashion training when making patterns and constructing bags, but with time I’ve learnt that leather can actually be treated in a much less complicated manner than fabric. I have learnt of the wonders of leather adhesives and rawhide mallets, I now revel in unfinished edges, and I am gradually learning to lay-off on the top-stitching.

What gets me in the mood to make…
I’m a real thinker when it comes to my work, so a chat with a friend about my ideas helps to put me in a doer frame of mind. I can’t bear the thought of working in silence, so there’s always going to be music involved in getting creative too. I owe my current flurry of creative activity to Betty Davis and Nina Simone. And deadlines! They really help.

And when it comes to overcoming creative obstacles…
Working from home is most definitely my biggest creative obstacle. There are way too many distractions. I’ve found getting started the minute I’m up and at ‘em helps to keep me focused on what I have to get done each day. And leaving my laptop turned off also helps. I’m hoping to get myself a nice little studio space the minute I get the chance. Also, being a one-woman-show has its difficulties. I still work a few days a week at my other job so when I’m home I often feel overwhelmed by all the things I need to do to run my business, whether it is making the bags, working on marketing or bookkeeping. Sometimes I just have to drop everything, refocus, and decide what is most pressing, but with time I am learning the art of time management.

My proudest achievement to date…
Appearing in Frank Bits in the July/August 09 issue of Frankie Magazine has been really amazing. Stocking to COUNTER and seeing bags sell has also got me feeling pretty darn proud.

Another craft skill I’d love to learn is…
I love to knit, but have never come to grips with knitting patterns, so I’d love to learn how to knit something more exciting than a scarf one of these days. I’d also love to learn quilting, bead appliqué, book-binding, weaving, screen printing… I’ll stop there.

If I could do anything in the world tomorrow, I would…
This is a hard one, as I’d really like to think of something insightful and socially/politically/environmentally thought provoking. However, my overworked and sleep-deprived brain keeps crying out for just one simple thing: a long and guilt-free sleep-in.

Introducing... Jarren Borghero of te.

te. is a label started by Jarren Borghero and Toshimitsu Ota. Using leather as their primary medium, the te. range includes bags, wallets, belts and other accessories, all of which are painstakingly handstitched using waxed linen thread. Meaning 'hand' in Japanese, the te. design philosophy places an emphasis on traditional techniques and the handmade and was created out of "our love for the original and dislike of the mass produced, along with our focus on traditional techniques ensures that the product is pre loved. the brand therefore cannot grow out of control where its aura becomes greater than itself."

To start of 2009, our first interview of the month is with Jarren who is one half of the design team behind te. Despite starting his artistic training in photography, it was after a trip to Japan that inspired Jarren to start te.

Without further ado, read away!

About te…
In Japan there is a real love for leather. I started noticing it everywhere and becoming a real connoisseur of it. Inspecting it with and internal dialogue discussing how it could be different or better.

A challenge was set, I guess. I started with just 2 tools and drawing on what my dad had taught me as a kid I started making wallets and bags at every chance I could. I became totally addicted to it. I was truly at peace with myself when creating with leather. Usually when making things I can't wait to finish and rush to get to the end. The emphasis being the result rather than the process. But it is not like that with leather. I love every facet of leather work and have a great sense of contentment during the whole process.

In Japan I went through a massive change in the way I think too. I went to there to escape for a while, to gather my thoughts and really make some decisions about what I wanted to do. My previous work as an artist was all about questioning consumption and planned obsolescence. Tokyo gave me the bigger picture about consumption. I discovered that it was impossible to escape it and that the world does indeed have to revolve around it, at least for the time being. I started thinking that what I produced had to be ethical and sustainable. Ethical and ecological design means no seasonal ranges and actually connecting with the things we make through craft. This was the concept for te.

A design that is close to my heart….
One that makes me swoon every time I make it is te. gooni. I feel like out of all of my designs this is the one that makes me believe in my abilities as a designer, a pattern maker, and a leathersmith. It is the culmination of all of my experiences, training, education, likes and dislikes all in one little bag. I feel that it is somewhat unique as a product out there, both in the way it is made and its aesthetics. Plus every time I make it, it makes me gush like as though it's a new puppy.

The material I use is…
Primarily leather. Leather comes many forms but I mostly use full grain leathers to be precise. This means the surface has not been corrected with paints and other finishes. Full grain leathers will show all the natural marks on the skin like fat lines, scars, and spots. I believe that it is part of the leather and should be utilised as beauty and not something to hide. I stitch with waxed linen threads, which matches perfectly with the natural leathers.

When I’m not in my studio I’m…
Not in my studio?!? Those moments have been few and far between lately, but I usually head to a park somewhere and get horizontal under a tree.

The last exhibition I saw…
I can't remember. I don't really venture into galleries anymore.

If I could buy anything in the world I would buy…
A mud brick house out in the forest somewhere.

One thing I can’t live without…
I worry that one day I will hurt my hands. Without them I wouldn't be able to make things.

te. gooni design

te. wallet

Emma Greenwood

As promised, here is Clog's very-exclusive with the not-at-all-reclusive leather and textile maker, Emma Greenwood. What a way to kick off the week! Also, don't forget to check out Emma's blog for more tales about her Open Bench Residency.

What was it like working in Gallery 3?

It has been great! I work at home by myself, so it has been lovely to have visitors, comments on the space and my work. I have also enjoying hanging out with Craft Vic staff, hearing Nella laugh, having a long browse in the shop and watching Joe walk past looking important and distinguished in his scarf. I’ve even managed to sneak out and have a long lunch next door at Cumulus.

What were you hoping to make during your residency?

My list was long but I have had to reassess it due to all the fabulous conversations I’ve had. I have comleted a pattern for my son’s new shoes. Today I’m assembling the uppers. Yesterday I managed to last a pair of shoes (when you wrap the upper over the last with special pliers, stiffeners, glue and a bit of swearing). I have a few patterns on the go, plus some belts and a bit of crochet.

Tell us about the space you’ve created in Gallery 3…

I bought a lot, I am a more-is-more kind of person. I like to be inspired by images, materials and most importantly by colour. I’ve covered a couple of walls in images and favourite thing. I have a bookshelf full of visual reference books – fashion, footwear, jewellery, patterns, crochet – and rolls of leather, heaps of tools, some finished work, tea cups and pistachio nuts.

I’ve set up two desks which is a luxury. I can jump between projects, oh and I have a bit of room for dancing.

Did you have any interesting conversations?

Many great chats, most visitors are practitioners themselves and we talk about studios, courses studied, where to get materials, great galleries and shops. A lot of conversations have been about balancing creativity with motherhood, an issue close to my heart. And Pene Durston brought me chocolate treats from Haighs!

…or overhear any sneaky talk?

I do get to hear people adoring and/or critiquing the In The Making show, mums telling their kids not to touch, pigeons roosting in the windows and the people downstairs banging their broomsticks on the ceiling in protest at my hammering.

What’s the first thing people tend to ask you about your practice?

“Is red your favourite colour?”
“Where do you sell your work?”
“Did you really make those?”

Mostly the questions have been about where I learnt the craft of shoemaking and how long does it take to make a pair of shoes.

Last but not least, any tasty (maybe even secret!) facts about you?

· I am ambidextrous – a bit of left and right-handedness which comes in handy when using tools and knives.
· I got stuck out on the fire escape stairs yesterday when I was using my stinky glue and the door closed – I had to walk around the block and come back through the front door!
· I don’t like brown.
· I used to be a bike courier.
· I am a compulsive list maker.

Open Bench Residency: Emma Greenwood

How much paper can a girl use in one day?

As a footwear and accessories maker, one would assume that leather was the material I used the most. However, my practice not only involves the manipulation of leather into bold sculptural forms, but also initially focuses on making intricate and complex patterns from card and paper. These are maps of three-dimensional surfaces, and are jointed, stencilled and engineered to the nearest millimetre, often bearing little resemblance to the objects they will become.

A glimpse into my studio reveals workbenches littered with ancient hand tools, pin up boards displaying inspirations and half-completed models, stitching samples, a half-made shoe on a lasting pin, and a variety of materials including pattern-making card, rolls and fragments of fragrant leather, sketches, and metal fittings, findings and hardware.

From this creative chaos come frustrated sighs, as I refine patterns many times before even touching any leather, followed by moments of jubilation, as reliable tradition and lateral thinking come together to produce work which is refreshingly liberating in its deviation from the original plan. Part of the process involves letting things take me where I hadn’t anticipated; relinquishing control can be difficult, but unexpected results are usually the most compelling.

- Emma Greenwood

Emma is our final resident in our 3-week Open Bench Residency program. Making full use of the space, Emma has created a colourful and cosy studio space tucked away from the hustle and bustle of the outside. Truly an artist at work! Today is Emma's last day in Gallery 3 but stay tuned for an upcoming post featuring a conversation with Emma about her experiences during the residency. Hot stuff!

Next week Gallery 3 will accomodate a combined installation of all three artists (Julie Monro-Allison, Bridget Bodenham and Emma Greenwood). The exhibition will on display from 2-6 September.