INTERVIEW: Chau Har Lee
If you’ve ever studied shoemaking at Prescott & Mackay, chances are you’ll have been taught by star-in-the-making, Chau Har Lee. Currently on the prestigious footwear MA at the Royal College of Art, she takes time out from working on her final collection to tell us about her journey so far
How have you learnt your craft?
I learnt a lot from doing the BA in Footwear and Accessories at Cordwainers in terms of construction techniques, how components are put together and how to use specialist equipment, but I remember being quite concerned with getting a general overview of the footwear industry. I tried to do as much work experience as I could both before, and then during my time at college, working with Johnny Moke on Kings Road for a bit, as well as for a bespoke shoemaker who showed me the whole handmade process, down to making his own threads. After graduating in 1999 I spent a year working for luxury leather interiors company, Anthony Vrahimis, working on a completely different scale to accessories which was a refreshing. I learnt a lot from working on projects for high profile clients such as De Beers and Burberry and my eye was sharpened in terms of accuracy, attention to detail. Then, after a whirlwind year spent working as the pattern room coordinator for fashion label Nicole Farhi, I joined a group of my friends who’d set up a label, LMNOP, and began designing shoes and accessories for the line which was being stocked in Browns, B-Store and internationally. At the moment I am coming to the end of an MA at the RCA which has been an amazing experience all round. Having worked in industry, it’s been great to have time to focus on my practice as a footwear designer and further develop my skills and knowledge in the company of so many talented people.
What led you to working in footwear design?
It was never something that I dreamt of as a child, although I do remember liking the sound of high heels. When I joined the art foundation course at Camberwell College of Art I thought I was going to be a graphic designer because I love to draw. My eyes were opened to footwear design during a project set for us by the shoe designer Olivia Morris. It felt like a natural choice for me as it seemed to fuse my two favourite areas- textiles and sculpture. I then went to an open day at Cordwainers and haven’t looked back since!
If you had not discovered footwear design, what do you think you might have become?
I would have definitely done something creative. I love making things and working with my hands so if it hadn’t been footwear it could just as easily been another discipline that involves problem-solving and construction.
In what ways does teaching influence your work as a designer?
I find that teaching refreshes my outlook on footwear and the industry. Meeting new people who have such a passion and respect for shoes, and the way they are designed and made, constantly reminds me of how lucky I am to be doing what I love. Also, being able to pass on some of the skills and knowledge I have learnt over the years is really rewarding- nothing beats seeing the excitement in someone’s face when the shoe finally comes off the last and they have made their first pair of shoes.
What are the most important things you’re trying to impart to your students?
My main message is to just try anything, and if it doesn’t work out not to be too disheartened- there’s always something to be learnt. Personally, some of my biggest lessons have come from my mistakes. I think it’s also very important to stay open to things that happen by accident in the design process. For instance, when I design I usually start by playing around with bits of leather or fabric that I have, and good ideas often emerge when something that I think is going to happen doesn’t, but it looks good anyway. It’s all about experimenting and following your instincts.
What piece of equipment do you advise an aspiring footwear designer to invest in first?
It really depends on what kind of designer you want to be and how you want to work. At one end there’s the bespoke shoemaker, who uses no machinery at all and will be working with a good set of knives and a sharpening block, and at the other you have commercial designers, who draw a lot using design software so a laptop might be their essential tool. I am somewhere in the middle, a mixture of both. I have my special favourite tools but computers are becoming more a part of what I do. For most, I think analysing the last is a good starting point, as are practising drawing and experimenting with fabrics and materials.
What is the most satisfying aspect of designing footwear?
I find it satisfying seeing the many parts of the shoe, all lovingly prepared, finally come together to form a beautifully sculpted object that also performs an important function, being strong and stable enough to support the weight and movements of a human being.
Where do you find inspiration for your designs?
It always changes. It could be a walk in the park or a museum visit, it just depends what I’m working on at the time. I usually have a sketch book with me to record ideas or do little doodles to remind myself of things. Ideas can come from anywhere really, it’s just about keeping an open mind. Right now, being at the RCA, I am very inspired to use materials from other design disciplines to bring a whole new aesthetic to my work.
What has been the highlight of your career so far?
Through the MA I had the amazing opportunity of a one-to-one tutorial with Manolo Blahnik who was very charming and gave me lots of helpful pointers and advice on where to take my work. I would also have to say all the fantastic people I have met so far, who have taught me, be-friended me and inspired me have all been highlights.
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