Frequently asked questions

The Studio

Q: Who are you, and what is your artistic philosophy?

A: Studio-SB is a small design studio where objects are developed through an iterative process of design, prototyping, and refinement. My work follows the architectural principle that form follows function.

Materials often determine the final form, which means no two pieces evolve in exactly the same way.

Some pieces are fully hand-crafted studio works, while others are machine-assisted designs produced in small runs. In both cases the goal is the same: durable objects built to accompany their owners for many years.

Q: What is the difference between the Studio-SB series and the +41 series?

A: The studio produces two distinct lines.

Studio-SB represents the core studio works. These pieces are fully hand-stitched and often incorporate rare materials such as hand-woven silk, sterling or Britannia silver, and carefully selected leathers. These objects are produced in very small numbers and typically begin around CHF 2000.

+41 is a more accessible studio line. These designs use durable materials such as chrome leather, cotton canvas, and denim, and incorporate machine-assisted construction. The goal is to offer a contained bespoke experience while maintaining the studio's design language.

Q: Do you accept custom orders?

A: I do not accept traditional custom orders. My work follows a studio-led design process shaped by my design methodology and the materials currently available in the studio, rather than a client’s order sheet.

Q: Can I still contact you about a specific request?

A: Yes, you are welcome to contact me about a specific need or concept. I will review every proposal, but I retain the right to decline the proposed project if it doesn't align with my current creative vision or available materials.

Q: Why don't you have a Facebook, Instagram or TikTok account?

A: My work develops slowly and requires long periods of focus and quiet. This privacy is not an attempt to be rude; it is the necessary balance for inspiration and the fidelity of the creative process.

This deliberate boundary also serves as a crucial security measure. Having found my personal information compromised online more than once, I prioritize this privacy for my safety and to maintain the peace required for my art.

You are welcome to visit: While I maintain a reclusive online profile, I operate a real, established studio in Baar, Switzerland. Appointments for serious inquiries or visits can be arranged privately after initial contact.

Materials and Process

Q: How do you choose and source your materials if you don't use an order sheet?

A: My materials function as my “box of paints.” I acquire them based on what captures my imagination rather than according to a predetermined order sheet.

Occasionally I also encounter dead stock materials originally produced for haute couture houses. These materials often exist only in extremely small quantities—sometimes just one or two hides—making them impossible to repurchase once they are gone. Practical limitations—sometimes as simple as suitcase space—naturally restrict how much I can bring back to the studio. This often results in small, unusual material selections that may only appear briefly in my work.

Some of these materials remain in the studio for months before finding their place in a design. I like to think of this process as “a solution to a problem I have not yet encountered.” When the right form and material finally meet, a piece emerges that could not have been planned in advance.

Q: Why do the linings and closures vary on the same base model?

A: The variation is intentional and part of the artisan's choice that makes each piece unique. Depending on my vision for the day, a clutch may be unlined and burnished, or lined with soft Nappa leather or silk. Similarly, the specific closure hardware varies to make that piece a singular creation.

Q: What is the philosophy behind your materials, and why is the price point higher?

A: My commitment is to create unique pieces that are not only beautiful but ethically and well built. This requires sourcing the finest materials from suppliers who share those values, which affects the final price. Many of the materials I use—including duties, taxes, and import costs—often exceed the retail price of mass-produced bags available online. Every bag requires a substantial amount of handwork and finishing - I like to call it "a slow dialogue between leather and hand", and no two combinations of leather, lining, and hardware will ever exist again.

Raw materials sourced during my travels are not mass production, such as hand woven silk or Akha hand embroidery from Thailand. These products are costly to produce and limited by the nature of their production method.

Additionally, I am dedicated to supporting Made in Europe production, sourcing materials and components primarily in Europe. This focus on premium, sourced/ made in Europe, combined with operating as a one-woman enterprise in a high-cost area like Baar in Switzerland, results in the fact, that the price reflects the entirety of the supply chain and the final, single-edition piece.

Because each creation is unique, pricing is provided upon request. This reflects not just the time and materials involved, but the individuality of the piece itself.

Q: Why is the handle on my bag so easy to remove?

A: I use a simple but durable piece of hardware called a Conway buckle where the handle meets the bag. This is a deliberate choice I made because it offers a few key benefits:

Longer Life: Handles tend to wear out faster than the rest of the bag. Because the handle detaches so easily, I can replace a worn-out component, which significantly prolongs the overall life of your bag.

Custom Look: This easy mechanism lets you quickly swap out the handle for a different color or material, allowing you to change the look of your bag whenever you want.

Sustainability: This simple design choice helps make my bags more sustainable. Instead of needing to replace the whole bag, you only replace the part that's worn, which reduces waste and supports a more eco-conscious approach to design.

Q: What happens if my bag needs repair in the future?

A: These objects are designed to remain in use for many years, and natural materials inevitably develop character over time. If a component eventually requires attention, you are welcome to contact the studio.

Whenever possible, I prefer to repair rather than replace. Because the bags are constructed in a straightforward and material-honest way, components such as handles or hardware can often be serviced or replaced without compromising the object.

This philosophy is also why I use detachable handles with Conway buckles—components that experience the most wear can be replaced without replacing the entire bag.

Q: Why do you use such unconventional colors?

A: My color choices are about freedom of personal expression and challenging conventions. I tend to veer away from typical "safe" bag colors. This isn't intended to make matching difficult—frankly, I've never been one to match my bag to my shoes and belt! Instead, I want to give you the freedom of choice to simply select a piece you love in your favorite color.

My Palette: I have a very strong penchant for black and blue, and you will see those feature prominently. You’ll also notice red and bordeaux trickling into my collections, thanks to my husband’s keen eye and fondness for those colors, as he's often with me during the raw material purchasing. I avoid "safe" colors (such as tan, cognac) unless I see the potential to create something truly artistic out of a "typical leather" shade or because the leather is so irresistibly amazing.

The Case of White: While I love the purity of white, I know it's a difficult color to maintain. Because it is nigh impossible to keep clean and sadly doesn't age as beautifully as my other materials, you will see very little of it in my final work.

Q: Why do you rarely include interior pockets or dividers in your bags?

A: I design my bags with flexibility and long-term utility in mind, which is why I generally keep the main interior compartment open and unstructured.

• Your Needs Change Daily: I understand that what you carry can vary significantly from one day to the next. Built-in pockets and dividers can often restrict the available space or make it impossible to carry larger items when you need maximum capacity. My design ensures you can utilize every bit of the bag's interior, whatever your needs may be.

• Pockets Can Become Obsolete: Wallet, phone sizes, and lifestyle changes can make the proper sizing of a pocket obsolete. The dimensions of common items (like phones from Apple vs. Samsung, or different wallet styles) vary widely and are constantly changing. Even a small change in device size or lifestyle can render a pocket useless, a frustration I've encountered myself (even in my car!). By avoiding built-in, fixed-size pockets, I ensure your bag remains functional and relevant for years to come.

My Recommendation

I recommend using a bag organizer. These can be removed easily, replaced when dirty, and can be purchased very inexpensively online.

Availability and Editions

Q: Is every item truly one-of-a-kind?

A: Studio-SB works are singular material compositions created from rare materials sourced during my travels. Once a particular combination of materials is used, it is not recreated.

+41 pieces follow a more contained design system. The design itself may reappear while the materials remain available. Once the materials are gone, the combination disappears permanently.

Q: If a piece I love sells out, can you just build me another one?

A: The studio does not reproduce exact pieces. That specific combination of materials, design choices, and artistic spirit is gone forever. I invite you to check in regularly because when a piece strikes your fancy, please know it is a rare creation. When it is sold, it is gone.

Q: What's behind the names of your bags?

A: Every bag has a story, and so does its name! I use a two-part nomenclature:

1. Model Name (e.g., The 'Sarah' Tote): This name is a tribute to my community. I name each main model after one of the amazing Beta Testers (if they let me), who helped me refine the design.

2. Unique Piece Name (e.g., 'Hametreya'): To ensure every piece is truly unique, I give it a name inspired by a song, painting, a literary piece or something that pops into my head. This name is chosen because it feels just right for that specific bag—it might be a track from my playlist, a book from my reading list, or a painting that just fits. It's a way to give each piece its own unique identity.

Regarding Price Points & What Goes Into the Cost

My bags are crafted to be a timeless staple in your wardrobe—a choice for conscious consumption and enduring style. My price points reflect the superior natural materials, my commitment to ethical and sustainable sourcing, and the intensive manual labor involved in my craft.

Q: What are the price ranges of your work?

A: Prices vary depending on the series.

Studio-SB works generally begin around CHF 2000 and increase depending on the materials used and the complexity of the hand craftsmanship.

+41 pieces are designed to offer a more accessible entry into the studio’s work and generally fall below CHF 1000.

Q: Why are your prices at this level?

A: A simple explanation is that even a cup of coffee here is expensive.

Choosing one of my bags means selecting quality that is honest and authentic. I rely on carefully sourced natural materials and durable construction to build objects meant to last for many years.

Unlike many items that use synthetic components, I adhere to a natural and waste-conscious construction:

Structure: For internal stiffening, I never resort to cost-cutting fillers like carton or plastic. Instead, I repurpose parts of marred hides or split leather, which are hardened using traditional natural bone glue or more modern equivalents such as Power Tex. This sustainable practice ensures a durable shape while committing to a near zero-waste material philosophy.

Superior Natural Materials (Ethically & Sustainably Sourced in Europe): I source exclusively the finest components:

Leather: Premium, sustainable vegetable-tanned leather, sourced from certified tanneries like the Pelle al Vegetale consortium in Italy, or high-quality Swiss tanneries.

Thread: High-strength, natural linen thread from the renowned French maker Au Chinois.

Hardware: Durable and non-corrosive solid brass or stainless steel fittings.

True Hand Craftsmanship: Your bag is built entirely by my hands, ensuring superior quality and detail:

Construction: Every seam and structural element is meticulously hand-stitched (both body and lining in the Studio Editions) for unmatched strength and a beautiful finish.

Time: A single bucket bag takes more than 20 hours of focused labor to complete.

The price reflects a unique, entirely artisan crafted item, made with the integrity of natural materials that allows you to approach your wardrobe with enduring class and consciousness.

My goal is not to produce large quantities, but to create objects that remain useful and valued for decades.

Practical Matters

Q: Do you ship internationally, and why can't I select my country?

A: Due to the specific terms of my insurance policy, I am currently precluded from selling to customers in the United States (U.S.) and Canada.

Therefore, orders can only be completed under two conditions:

• Studio Pickup: You arrange to collect the piece directly from my studio in Baar, Switzerland.

• Swiss Shipping Address: You provide a valid shipping address within Switzerland/ Liechtenstein.

Thank you for your understanding regarding this necessary logistical limitation.

Q: Why do you feature cows so prominently in your photography?

A: The majestic Swiss Alps and the animals that graze here are a quintessential part of the environment where my art studio is based. You'll often see cows in my photography because they are a defining, authentic element of the beautiful landscape. It serves as an immediate, honest connection between the natural materials I use and the traditional Swiss environment they come from. It's a way to ground my art in its origins.

My mom confirms I've had a fascination with cows since I was tiny, and apparently, my go-to greeting upon seeing one is a cheerful "Hello cow!" (Yes, I still do it.) Also, you know that unmistakable moment when you suddenly think, "Ah, smells like Switzerland!"? It’s all part of the charm, and I love letting that local personality shine through in my work.