Robert Mercier, a leather enchanter and a master of handmade craftsmanship, delves into the insights of his work and the collaboration for John Galliano’s Maison Margiela’s Artisanal ’24 show.
hube: Over your 30 years of working with leather, how have you seen the demand for handmade and authentic pieces evolve in the fashion industry?
Robert Mercier: Over the past 30 years, a lot has become different. The demand for bags, for example, is not as strong anymore. When I started, companies recruited very few people, but then things changed. In the ’90s, brands were creative with their pieces, and we were able to see incredible things through their magnificent parades. There was a quality know-how, and artistic people who wanted to express themselves and listen to each other.
People tend to say that the rise of hand craftsmanship began during COVID but I think it started a bit earlier. Personally, I think fashion houses were no longer creative and could no longer surprise us with novelty because they wanted to save money. Nothing will be done by hand anymore, they thought. Fortunately, many artists in France are stubborn and have kept handmade craftsmanship afloat.
People look for authenticity, and that’s why big fashion houses now employ small artisans like me and why they buy small businesses.
h: The process of manufacturing the leather pieces involves keeping certain techniques secret. Could you elaborate on how you balance the desire to maintain these secrets while still sharing the artistry behind your work?
RM: I never liked showing the manufacturing process. I know that in our time, people like to know everything, but I find that it destroys the magic of creating. I like it when people say to me, ‘But how does she fit into the dress?’ or also ‘But how is that possible?’. This is proof that I did my job well. I make objects to spark dreams and astonishment; I don’t do tutorials! But I understand the idea of studio secrecy. That’s why I made the effort to post some photos. To be honest, when I’m absorbed in my work, I don’t think about taking photos.
h: The fashion industry has seen a shift towards valuing the artisan’s handiwork. How do you think this shift has influenced the perception of your work specifically?
RM: It was good for me; I have always been making, but no one was interested in it. When I started working for shows, fashion houses wanted new things, and I took the opportunity to propose my developments. I started with Balmain; Olivier was immediately interested. The different creatives with whom I worked gave me the theme and the direction, and I offered them techniques that corresponded with the project. Artistic directors are happy to be working with me. I also sculpted the muscular dress with Daniel Rosberry.
h: Your creations often push the boundaries of what is traditionally expected from leather. How do you approach challenging the conventional notions of leather creations while still honouring its rich history?
RM: I have always found leather things old-fashioned. Maybe that’s why I’m looking for new ways to utilise this material? I fell in love with leather, and this feeling helps me a lot with my work. I like learning and rigor in the work. So, I first learned my profession and then spent years mastering it, which now allows me to be free in my work. I don’t think anymore; things come by themselves, naturally. It’s as if I am a jazz musician improvising on stage – total freedom.
h: The leather bibs you created for John Galliano’s Maison Margiela’s Artisanal ’24 show are the fascinating act of bringing a porcelain effect to life. Could you tell us more about the process behind your work, considering the challenges of maintaining material flexibility?
RM: When making a piece like the bib, you have to think about several things. For starters, it really has to look like porcelain and the object has to remain light so a person can put it on. The first thing I did was choose the leather that suits best and found the right rigidity. Afterward, I went back to the source of the material. In this case, I found out how a porcelain plate was made.
I love this moment of investigation as I am curious. I have to immerse myself in and understand the material to be able to replicate it.
h: Your work for Maison Margiela Artisanal ’24 show received widespread acclaim, with some calling it one of the greatest fashion shows ever. How did you feel witnessing such a positive reaction? Was it unexpected?
RM: I had my doubts. Was it going to be a beautiful parade? At the last Margiela fashion show, we clearly saw the mark of Mr. Galliano, and I don’t think I’m wrong for saying that he wanted to show that he was still there and that he was the boss. When I saw the parade, I was upset; I even cried. I really didn’t think I would experience the emotion of this golden age that inspired me so much. Today I am part of this parade; it’s really wonderful.
h: What inspired the choice of materials and techniques for the leather bibs in the Maison Margiela show? How did you approach translating these ideas into wearable art?
RM: The material that stands out for me is always leather; you can really do a lot of things with it. It is a material with vast possibilities for creation; it is also a very noble material that provides longevity, resistance, beauty, and it remains repairable for life.
h: Beyond fashion shows and celebrity collaborations, you’ve created leather art that stands alone as striking pieces. Could you discuss one of your standalone creations and the artistic narrative or theme behind it?
RM: In fact, I have always needed to create and manufacture pieces, without the objective of selling them. I need to express myself artistically, and I use leather. At the moment, I’m working on a series of sculpture clothing around mythology. But the project I’m most proud of is the Hitchbag Collection. I had fun re-accessorizing Alfred Hitchcock’s films with a modern touch. The collection was exhibited at the Joyce Gallery Paris in 2022. I am passionate about cinema, and the first films that struck me were those of the master of suspense. When I created his pieces (clothes, bags, objects), I worked on the psychology of the characters and not just on their appearances, such as the Replica bag, inspired by the film Psycho. I wondered what Norman, the owner of the Motel, could have given his mother whom he loves above all, and from there, this green satin minaudière was born.
h: The use of natural elements, like the stone from your garden for imprints, adds a distinctive touch to your creations. How do you choose and integrate these elements into your leather art?
RM: I’m always on the lookout for anything I could use for my creations. I think I kept that from my beginnings. I had very little technical means and little money, which developed in me a faculty for using simple things from our daily lives. Adaptation is the art of the craftsman. I never spend crazy amounts of money on my developments. It all comes from a little mischief and hard work.
h: What contemporary artists or creatives inspire you? How do their artistic approaches contribute to your own evolving perspective on leather art?
RM: I am nostalgic. All the people I admire have already passed away. The most contemporary is Pierre Soulage; he inspired me a lot and still inspires me. I even sent him letters. I love his artistic approach to the material and the artisanal approach he had when he made his tools. Thanks to him, I became aware of the material. When I have an idea, I use my skin and see what it can give me. Sometimes I find it good, and then other times not. And that’s where I get into a fight with her; I propose, and she responds – a real exchange until we find an agreement. What’s beautiful is that I’m often the first to be surprised by the result.
h: What five words would you use to describe the future?
RM: Adaptation, awareness, sensitivity, respect, love.
Images courtesy of the artist
