The next process in line for our sculptural Rho is to become a beautifully painted lady. Painting the edges of this handbag provides a visual framing that brings a next-level elegance to its already striking silhouette.
As with our other bags, the raw leather edges are meticulously painted over, causing all the rough fibers to rise up. It’s not unlike raising the grain when staining or painting a piece of wood. After each coat of paint the fibers are gently buffed on a buffing wheel, taking off some of the paint but leaving the pigment behind. As additional coats of paint are added, more fibers arise—less than before—and then are buffed off again. This process usually takes between five to seven “passes” until the edges are totally smooth and the colors are rich and bright.
A “blind test” is performed on every painted edge, from the super-thin interior pocket edges to the exterior frame, by running a finger over the surface to feel for any remaining leather fibers. Our artisans have learned that this is a more accurate measure than relying solely on the eye.
The process of painting the Rho is a bit different from some of our other pieces, as there is such a long, continuous line to follow. Additionally, painting the interior edges of the handle, or what I like to call the eye, takes a very steady hand and precise level of focus. This step is completed toward the end of the bag’s journey through the studio, leaving precious little room for error.
A unique aspect of painting, buffing, and dremeling the eye of the Rho is working within the negative space of the form. Our artisan and painter extraordinaire, Fiona, explains to me that improvisation is necessary with each new piece that comes through the studio, and that she loves using her tools in innovative ways each time.
We have two groups of Rhos being handmade in the studio right now, so while these particular bags are almost done, a whole other batch still has yet to be assembled and stitched! We’ll be turning our heads to those next week.
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