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ABOUT THE MAKER
The maker behind Ward One Stitch Society was born in America and now resides in a London house where everything is categorized with quiet ambition: scissors arranged by temperament, rulers arranged by length, and leather hides stored in what she refers to as “migration zones.”

She earned her first degree in Fine Art and Photography, later attended Yale, dropped out, and studied Film instead – a chronological zigzag she considers her most reliable personality trait. Her workspace still behaves like a movie set: overly lit, suspiciously organised, and always prepared for a close-up of a button.

She enjoys structural desserts (the Napoleon), unromantic Tube lines (the Central), and contradictions that make no logical sense, such as sewing primarily with leather while believing firmly in vegan ethics. She insists these paradoxes give her work “dimension”, a claim no one has ever challenged.

Projects rarely begin as projects. They begin as impressionistic observations: the curve of a shadow on a handbag, the fold of a jacket on a stranger, the particular blue of a bus window in winter. A sketch forms. A pattern emerges. Eventually a bag appears, carrying the faint air of someone who has just heard a secret.

During the making, instructions are issued in short, precise German:
“Noch einmal messen.”
“Das war falsch.”
“Jetzt ist es richtig.”
“Atmen, bitte.”

These notes live alongside measurements and doodles in workshop notebooks, next to questions like “How polite should a bag be?” and “Should hardware have a personality?”

Ward One Stitch Society is the cumulative result: a small, improbable universe where structure meets sentiment, contradictions feel intentional, and every handmade object is encouraged to develop its own internal life before leaving the studio.