Marmalade Issue 5, 2017

After 35 years of
collaboration,
Rose-Anne ‘Rosie’
Russell and husband
Mick Russell still love
going to work. Lara
Merrington chats to
this creative couple
about their co-working
space at JamFactory at
Seppeltsfield and how
they fashioned their
perfect fit.
Words by Lara Merrington
Lara is Assistant Curator at JamFactory.
LM: Rosie, from studying Custom-Made Footwear at TAFE in 2003/4 to setting up
a shoemaker’s co-operative, you then expanded and eventually re-located to a retail
space and workshop in the eastern suburbs of Adelaide. Tell us a bit about your
trajectory from then to your current position at JamFactory Seppeltsfield.
RR: I have really grown and developed my practice as a maker since study. From
a focus on custom-made shoes, I have expanded into handbags and accessories.
Our hills relocation really took place as part of our dream to retire to the country.
We came across a gorgeous restored carpenters workshop from the 1880s in the
Barossa, at Springton. We started off there running a home studio, and that’s when
Mick and I started working together too. It was pretty understated with a small
A-frame sign out the front, but we found there was definitely demand here. In 2013
I was approached by JamFactory to become an Artist-In-Residence at their new
location in Seppeltsfield, so I delightedly accepted, with Mick sharing the space too.
LM: Mick, you were obviously inspired by Rosie to some degree, but your practice is
perhaps more classic in style. How would you describe your part in the business?
MR: Rosie is definitely the team leader. I’m the team schmuck! I worked in real estate
and sales for years but when we moved up here I was semi-retired and needed a
challenge. Everyone wanted belts from Rosie – so I came on board to help out and
took on another full-time job really! On the side, I guess there was a bit of mucking
around in leather before then though. I love doing up old cars, like my old FJ Holden,
which I reupholstered. I also did a two-year motor trimming course, so there are
some applicable skills to what we do here – like pattern-making. I have a lot of fun
making different requests for people. For example I recently did up a 1926 Douglas
motorbike toolbox for a client – so I guess you could say my work is a little more
traditional than Rosie’s style which is so colourful and diverse.
LM: Between you there is such an array of wares lining your retail space.
From handbags, cushions, purses, earrings and shoes, is there anything you
can’t do in leather? Tell us a bit about your materials and ideas?
MR: We love repurposing: I find a lot of old belt buckles at vintage shops, markets
and op-shops (as well as ideas for new belts). Buckles are works of art, and I just love
old things too. For instance, this here [Mick shows an old leather pouch in perfect
condition: his grandfather’s compass case from 1916], the quality, 101 years old. How
cool is that? How many things do you see that people still use in 100 years time?
RR: The beauty of working with leather is its diversity. I’ve incorporated weaving,
painting, stitching, appliqué and recently even some sculpture in the small vessels I’m
making. My practice is almost compulsive. I’m not stuck to one style – I’ll do all sorts.
LM: Has being at Seppeltsfield changed your direction or provided you with a
different client base?
RR: There has been a lot more corporate gigs. The culture is rich in wine and food up
here so I make quite a few high-end menu covers for restaurants like the ones I did
for Fermentasian Restaurant in Tanunda.
MR: I loved doing a recent piece with furniture designer Andrew Bartlett, for which
we made the leather straps for a bespoke timber collectors wine case. I really enjoy
working with other artists and learning about their materials and design process.
LM: What does the future look like for you both?
RR: I really get a buzz out of doing exhibition work. I know Mick would love to do
more carving, plaiting, that kind of thing. He was recently really inspired by an ABC
program he saw on a guy who was making hand-plaited whips for example.
Left: Rosie and Mick’s studio.
Photographer: Lara Merrington.
MR: The future? Rosie could easily keep going until she’s 75. In leather, you are only
limited by your imagination, and we haven’t even scratched the surface. I’m already
looking forward to coming in tomorrow.
ISSUE 05 / 49