Newcastle-based leather artisan Lyneece Garland has built a practice defined by patience, detail, and a deep respect for traditional craftsmanship.
Working under her label Garland Leather Goods, she creates handmade pieces that prioritise longevity, practicality, and thoughtful design. Each bag and accessory is cut, stitched, and finished by hand — a slow, deliberate process shaped by years of curiosity, experimentation, and a genuine love of the craft.
Her work blends traditional techniques like saddle stitching, carving, weaving, and edge finishing with a modern, design-led sensibility. The result is a collection of pieces that feel functional but also deeply considered, each one reflecting the hours of labour and quiet focus behind it. Whether she’s creating something for everyday use or entering a piece into a national competition, her approach remains the same: take the time, honour the materials, and enjoy the rhythm of making.
What follows is a conversation with Lyneece about her process, motivation, and the craft that continues to challenge and inspire her.
What first drew you to leather-craft, and how did making handmade leather goods become your creative path?
I’ve always been a creative person, even from a young age. Growing up, I loved making things of all kinds. I also grew up horse riding and eventually stumbled upon a saddlery course. I had to wait until the year after I finished school to attend because the classes were in Scone on a Thursday night, which was an hour’s drive for me at the time.
After my first class, I was hooked. I realised I could learn to make all types of horse gear, along with belts, bags, and wallets. I’ve always loved trying different forms of craft, but I kept coming back to leatherwork. I studied saddle making at TAFE under Han Van Hees, and he taught me so many of the foundational skills I still use today.
Your Instagram describes your work as “built to last a lifetime.” What does durability and longevity mean to you in your designs?
Durability and longevity are at the core of my designs, and that’s achieved through careful craftsmanship and material choices. I love to saddle stitch my work, which involves stitching with two needles by hand. It creates a very strong, resilient stitch using waxed thread, and it’s been used in traditional leatherworking for centuries.
I mostly use vegetable-tanned leather because of its natural plant-based tanning process and the way it patinas over time. It ages beautifully and just keeps getting better with wear.
Can you walk us through the process of creating one of your bags — from the initial concept through hand-stitching to finishing?
I look for design inspiration in everyday life, especially in architecture and fashion. I notice how lines and structures in buildings shape spaces, or how the cuts and flow of clothing influence movement and style.
When an idea forms, I sketch it out — both the finished product and the pattern pieces. During this stage, I focus on aesthetics and functionality, considering how the leather’s structure will support the form and how it will hold up over time. Hardware is just as important; I select buckles, zippers, and rivets carefully so they suit the design and will age well.
From there, I create a paper template (sometimes a few versions), then a test sample in scrap leather to check the form, feel, and practicality. After that, I move on to making the final piece.
You often show detailed craft techniques in your social posts. Which of these skills do you find most challenging — and most rewarding?
I love combining different leathercraft techniques in my work because it shows the full range of what I can do and helps create one-of-a-kind pieces.
There are techniques I’m still working to improve, like edge painting, for example. At the moment, I dye and polish the edges, which is already meticulous, but I’d like to refine the painted edges more.
Leather carving is another skill I really admire, but don’t get much time to practice. I’m fascinated by its history — from Al Stohlman’s textbooks in the USA to my own experiences in saddle making at Scone TAFE. Carving is very rewarding because the leather gets pushed up and down, creating depth.
I’d also love to do more plaiting and lacing, especially with kangaroo leather, which is the best for that technique because it’s strong, supple, and lightweight and something we’re lucky to have here in Australia.
Being based in Newcastle, how does your local environment (suppliers, materials, community) influence your work?
My leathercraft style has a bit of a rural feel, especially through the patina of the leather and the brass hardware I like to use. The Newcastle community has given me a lot of exposure to different jobs and events.
Over the years, I’ve built some great collaboration friendships with other creatives, like Reioni Douglas from Upholstrei, who has referred work to me. I’ve made menu covers for a local restaurant using scraps from their booth chair covers.
Also, on occasion, help manufacture small-batch leather goods for local businesses. I really enjoy that style of work because I get to see their products come to life.
There isn’t much in the way of local suppliers for leather or hardware, but over the years, I’ve found businesses I trust in terms of quality and values.
How do you balance aesthetics (design, form, colour) with functionality (wearability, practicality) in your pieces?
Balancing aesthetics is an ongoing learning process. You can have the same pattern, but a different type of leather will change the entire piece. I try to mix traditional techniques with modern design, so that the end result is timeless. Each bag is a labour of love, and I take a lot of care at every stage.
What role does sustainability play in your practice — from materials to production methods to end-use?
Leather is a highly sustainable material because it’s a by-product of the meat industry, meaning it uses resources that would otherwise go to waste. Synthetic alternatives require a lot of chemicals and can take hundreds of years to break down.
Vegetable-tanned leather uses natural tannins, making it even more environmentally friendly. When leather is cared for properly, it has a very long lifespan, which reduces the need for frequent replacements.
Many makers talk about “signature pieces” or designs that define them. Do you have one or two of your works that feel especially personal or pivotal, and why?
My most recent design, the Parallel Arc Bag, feels like a true signature piece. I love the combination of straight lines with soft, curved arcs. It stands out on its own without being over the top, and it complements different styles really well. It feels like it represents where my design journey is right now.
How do your personal style and design philosophy intersect?
My personal style and design philosophy are shaped by my love of craftsmanship and heritage. The materials I choose — especially vegetable-tanned leather — come from my experience with equestrian work. I’ve always been drawn to durable leathers that develop character over time.
The way I stitch is influenced by traditional equestrian techniques. I like clean, minimalist lines that feel contemporary, but I also enjoy weaving in classic, rustic touches that give the work a timeless feel.
What are some of the biggest challenges you face as a maker working by hand in leathercraft — and how do you navigate them?
One of the biggest challenges is sourcing quality materials since I buy most of my leather, hardware, and tools online, both from Australian and international suppliers. Navigating metric and imperial sizing can be difficult, so I’ve made up charts to compare the two when I shop.
Another challenge is time — with two young kids and a part-time job in the rail industry, I work in small pockets throughout the week. But I’ve learned to make that work for me so I can keep this business alive.
Looking forward: are there new techniques, materials or collaborations you’re excited to explore for the next chapter of your work?
I’m working on a couple of new projects and exploring collaborations with other creatives. Working with different people and skill sets opens up new possibilities, and I’m excited to see where that leads.
For someone discovering your work for the first time: what do you hope they feel or think when they hold one of your pieces?
I hope they feel a connection to the true art of leathercraft. I want them to appreciate the time and care that goes into each detail — the traditional techniques, the years it takes to master them, and the history behind the materials. Leather is such a timeless, tactile medium. My hope is that people feel that sense of dedication and authenticity in every piece.
Where can people see more of your work or purchase a piece?
Through my Instagram: @garlandleathergoods. That’s where I share what I’m working on and any pieces that become available.
Lyneece’s work is proof that craftsmanship still has a place in a fast-paced world.
Her approach is steady, thoughtful, and grounded in technique. A practice that has been built stitch by stitch, hour by hour, across the quiet pockets of everyday life.
Through Garland Leather Goods, she continues to refine her skills, explore new ideas, and create pieces designed to last a lifetime.
