My Shoulder Bags and Custom Purses
It began with textiles that seemed to have something to say
Some fabrics do not sit quietly on the table. Kimono fabric is like that for me. Even a small piece can hold movement, color, and detail. Some are soft and graceful, with gentle florals or a subtle woven texture. Others arrive with more drama—bright contrast, metallic accents, or a pattern that immediately asks to be noticed.
Japanese Obi fabric brings another kind of beauty. It is often firmer, richer, and more structured, with woven patterns, gold threads, geometric designs, or motifs borrowed from nature. Paired with softer natural fabrics, it creates a balance I love—elegant, grounded, and full of possibility.
That balance became the heart of these designs.
I never wanted to make a purse that simply placed pretty fabric on the outside. I wanted the materials to matter. The center panels give each bag its own focal point, while the angled shape adds a custom, almost architectural feel.
That is what keeps me interested in handmade purse design. Every decision changes the finished piece. Fabric is not just decoration. It affects how the purse feels in the hand, how it hangs from the shoulder, how it moves with the body, and how it will age as it is carried.
The role of Kimono and Obi fabric in the design
Kimono and Obi fabrics each bring something different to the work. Kimono fabric often gives a purse its softness and approachable feel. It is most often silk or a silk blend, depending on the original garment. Obi fabric, by contrast, is usually a thicker brocade with a luxurious sheen that is hard to find in other natural fiber fabrics. Each one behaves differently under the needle.
The softer fabrics can shift while being cut or sewn, so I handle them carefully. I stabilize pieces when needed, match patterns where I can, and choose sections that will work well on a smaller surface.
A large kimono pattern can become something completely different when it is scaled down into a purse. One flower, one crane, one sweeping curve, or one shift in color may suddenly become the focus. That search for the right moment in the fabric is one of my favorite parts of the work.
Obi asks for its own kind of respect. It can be so thick that it will break a sewing machine needle if I am not careful. But that thickness is also what gives the purse structure, richness, and a more defined shape. It adds contrast in texture and makes the finished piece feel more substantial.
Some Obi fabrics feel formal and luminous. Others are earthy, graphic, or quietly elegant. Many have woven details that catch the light in subtle ways, and even a narrow section can change the whole mood of the purse.
Working with Obi takes patience. The fabric can be dense, and metallic threads or raised woven patterns require extra care. Cutting has to be precise, and seams have to be planned so the purse has strength without too much bulk in the wrong places.
That is part of the craft, and part of the challenge I enjoy.
Before I cut anything, I always lay the fabric out and study it. I look for the part of the design that feels most alive. Sometimes that means placing a bold motif on the front panel. Other times it means letting a softer, quieter section become the whole mood of the purse. I also think about what can be saved for future projects, because I do not want these beautiful textiles to go to waste.
The goal is always the same: to honor the original textile without overwhelming it.
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