A graduate from the Ecole de la Chambre Syndicale de La Couture Parisienne, designer Lisa Vanbach worked for Yves Saint Laurent and Andrew GN before launching her own brand of luxury accessories in Paris in 2013. Her line was born from the love of aesthetics and fascination with the eternal conflict between nature and technology. The talented Franco-Swiss designer opens up to us about her diverse sources of inspiration, the meticulous process of producing her pieces and future plans.
What inspired you to get into accessories?
I got into accessories because I could rarely find what I liked, when it came to leather goods. I find today’s market inadequate; a bag needs to be stylish, sure, but also practical. Accessories are a way to make a basic outfit personal, especially today that our time is limited and do not have the time to dress up every day, but it is important to be ourselves.
What are the main materials and the main technique you use?
The main material is calf leather issued from vegetable tanning. For the lining of the cuffs, we use lambskin for contort and softness. The technique we use is laser. It fascinates me to discover its possibilities. It is incredibly precise for cutting or engraving. Each material is a new discovery and creates a new challenge to adapt and reprogram the machine.
What has been the biggest challenge you have faced in the accessories business?
When you are a new designer, your name does not get out much at first; that makes it difficult to convince the buyers about your product.
What inspires you as a designer?
I am inspired a lot from contemporary art, modern and minimalist architecture and literature. Kafka, Hesse and Oscar Wilde are a mixture of darkness and poetry which defines my universe well. Another source of inspiration is mechanics, engines and steam punk. It is the raw aspect of metals and the way they are combined and built into machines that captures my interest; the industrial and Victorian era with the steam locomotives and the atmosphere of the train stations have the mystery, the dark romanticism and the melancholia I seek for. Anatomy and nature are also an inspiration to me. The body is like a perfectly proportioned and functional engine.
Is there an interesting story behind any of your pieces?
Yes, my collection has five different laser motifs, and each one has their story. Thorax was the first drawing I made. It is inspired, as its name says, by the structure of a thorax. Digital represents a fingerprint, symbol of identity. It also has the aspect of veining of wood melting into an infinite spiral. Exuvie is the snakeskin left behind during molting, and represents metamorphosis. Chronos is inspired by the meticulous mechanism and refinement of Swiss watches. The motif for bags and belts is “Under C”, and it is inspired by the collages of the contemporary artist Lance Letscher. It has a double meaning: “under construction,” representing a naval city in construction, and “under Sea,” inspired by the myth of the submerged remains of Atlantis.
Describe the process you follow to craft your pieces.
I first start the motif with china ink. Once it is finished, I need to adapt it to the pattern of the accessory, and transcribe the scanned motif into a vectorized file the laser can read. Once the skins are selected, precut and prepared for the engraving, there are informatics settings to do for each different leather because they all react differently. After this step, leather and its engraving needs to be cleaned up, waxed and polished, making sure the burned motif stays intact and according to the original informatics design. The final step is to assemble the product and control its quality.
Why is having the production entirely made in France important to you?
I am the co-director of Atelier Bettenfeld Rosenblum, which is also my producer. Atelier is 120 year olds, and it is based on the traditional French knowledge of art gilding and sheathing. This knowledge was transmitted from father to son, and has evolved into a modern approach of leather work, developing new technologies, new embellishment possibilities, but always based on French workmanship and quality of this art, which dates back to the 13th century. Because this knowledge as well as skilled artisans slowly started to disappear, it is very important for David Rosenblum and myself to maintain the heritage and excellence of “made in France.”
Tell us a few words about your latest collection.
It is a minimalistic and structured line. The motifs enhance the simplicity of the shapes, which makes it a timeless product. I am not a big fan of color; my favorite is black. The two other colors I have chosen are “natural” – mahogany brown and off-white. It is important to me to use colors and shapes you do not get tired of. I have developed two bag sizes meant to be practical – one is a clutch with a detachable strap, big enough to carry everything you need for a walk; the other is a bigger bag for people like myself who need bigger space – I never go anywhere without my laptop.
What is your favorite accessory?
It is difficult to say because, as mentioned before, they all have a story. I always wear the big leather cuff with the digital motif in black – it is like my second skin.
What are your future plans?
My plan is to develop further my collection, offering a complete line of timeless accessories and leather goods, with maybe different motifs, different leathers and colors, but also complete a unisex-cloth collection based on the same values and technique.
www.lisavanbach.com
Images © Lisa Vanbach
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