Merryl Tielman: “I design innovatively, but not pretentiously”

Designer Merryl Tielman began her career as a creative exploring her path at the Rietveld Academy. After one year of fashion design, she switched to audiovisual studies, stating: “I felt limited in fashion.” Several jobs and a footwear design course later, it turned out she was closer to her calling than she had realised. She started making bags purely out of interest, “just for myself.” Today, her designs are available in luxury boutiques such as Henrik Vibskov and Concrete Store, and at e-tailers like Farfetch and, soon, Breuninger. FashionUnited spoke with Tielman about following her interests and achieving organic brand growth.

It started with shoes; why the switch to bags?

I had the opportunity to work as a leather shoe designer for a while; combining the two crafts is a very logical step. I often found myself thinking: what kind of bags would complement these shoes? I began making them casually, simply out of curiosity and for my own use. It turned out to be much more enjoyable than making shoes. You also need far less equipment; it can easily be done from home.

When did you decide to take it seriously?

It started happening more frequently that people in nice shops would ask about the bags: “What is that? What brand is that bag?” Sales assistants would sometimes even follow me. This happened at Ménage à Trois in Amsterdam, which has since closed. I walked in and the first thing the assistant said was, “You have a nice bag,” instead of, “Can I help you?” I asked if she would be interested in selling the bag in the store and she said yes, and for a serious price point too.

Initially, I wanted to make them myself, but I soon realised they would not turn out as beautifully as I had envisioned. A bag's appeal depends on a high-quality finish, which requires professional machinery.

Why did you ultimately decide to produce in Italy, and how did you secure your first stockist?

I first explored the possibility of producing in the Netherlands. However, my bags are quite complex and therefore expensive to make; wages are higher here and there is less specialised know-how. My boyfriend and I then began searching in Italy, where we found a suitable partner in Veneto.

At that time, I only had three designs and I had 50 units of each produced. I drove around to various shops with a few bags in my car, not really knowing what the reaction would be. The production cost was much higher than I had anticipated. The first store to stock them in 2019 was Margreeth Olsthoorn, a benchmark in the Dutch fashion scene. I found that very special.

The text continues below the image

Why add something new to such a saturated market?

First and foremost, the drive comes from within me; I have always wanted to create new things. For my first bag, I took the side panel, also known as the ‘soufflé’, and rotated it a quarter turn to become the front. This technique uses a very traditional system to create a new type of bag.

I always try to create something that is different, but not pretentious. I once saw a bag shaped like a celery stick on the catwalk. It was a fun idea, but what is its practical use? I usually start with a detail that catches my eye or an idea, such as a shape I see, and then I begin to invert or reposition elements. I rarely follow trends. If you do, you are always one step behind.

Where are your bags selling best?

Mainly in the US. We have a total of around 20 stockists there, such as The Conservatory. People in America tend to spend money more easily. Before that, however, sales were doing very well in Denmark. It fluctuates.

The Netherlands is also a wealthy country, but people here are more practical and less inclined to spend a lot of money on fashion. They might be more likely to buy an appliance than a bag.

Tell us about your latest collection

I wanted to create an East-West bag, but in an ultra-simplified form. My designs are often complex to produce and feature many details. This time, I specifically wanted to create something that did not have to be so expensive.

I challenged myself to create something very simple that was still beautiful. The result was two small bags. They consist of just two parts, making them incredibly simple, yet they have a very strong shape. They were very well received.

The text continues below the image

You also introduced a new material: horsehair

Yes, that brought a new dynamic to the bags’ aesthetic. It is called horsehair, but it is actually cowhide. You see a lot of it at the leather trade fairs, which are held twice a year.

Originally, I worked exclusively with vegetable-tanned leather because I find it beautiful and it is more sustainable. I have become more flexible on that point. Vegetable-tanned leather can be fragile and is not always the most practical material. I have started to think in a more market-oriented way.

What is your outlook on the future of the handbag industry?

For years, I have been hearing that consumers are tired of major luxury brands and that the time is right for small, independent labels. I have yet to see this happen on a massive scale. Perhaps ‘quiet luxury’ will truly gain traction over the coming years. My bags do not have ostentatious logos; the brand name is only discreetly placed on the inside.

I think people are increasingly appreciating authenticity and individuality. Younger generations are also more conscious of global issues. Perhaps this will translate into their purchasing habits: fewer major brands and more support for small creators like myself.