How it started … Rue Pigalle, the gallery boutique I believe in the intrinsic value of manual intelligence, the crafted object, and the important role of artisans in society. It comes from having grown up in a French family of academics and intellectuals who revered artisans and attributed value to an object based on the skills it took to fashion it.
I discovered the world of fashion retail in Calgary (we moved there from London for my husband’s work) after meeting Roselyn, a concert pianist who sold French fashion, accessories and home decor. Because I spoke French, she hired me as her Saturday girl.
Roselyn could spot beauty a mile away. She effortlessly combined visual and emotional beauty, making everyone around her feel special. It is a talent I have admired and tried to emulate for the past 20 years. When I’m stuck or uncertain, I ask myself, “What would Roselyn do?” (She passed away and I miss her dearly.)
From Calgary, we moved to Toronto. Because I couldn’t find the fashion accessories or home decor I liked, I opened a gallery boutique to fill the gap. I named it Rue Pigalle, after my favorite Paris district — the home of the flâneur (or should that be the flâneus for us women?), a stroller about town, exploring the city streets for art and culture.
The boutique was an exciting project after a career in law, much international travel, and finally settling in Toronto and raising our family. It made me feel part of the city and enabled me to meet amazing women, either clients or artists, with whom I forged lifelong friendships.
I represented makers and artists unknown in Canada. No brands, only skillful, innovative makers — many of whom were emerging. Canadian culture (outside Quebec) puts an emphasis on an efficient, practical aesthetic that is reasonably priced and does not attract attention. That is so not in line with my French background! I sold pieces that were maximalist, easily sacrificed practicality for beauty, and finely crafted.
This uniqueness gave me an edge over other galleries, but it required a huge communication and marketing effort. It was really about creating the market for the makers, which makes for a challenging business model. But I never deviated from my vision, and I think my clients respected that and were incredibly supportive.
My retail business was built on passion. I had no business plan or experience but was convinced that it couldn’t fail … and somehow it worked. I am more of a creative than an analytical thinker and that approach worked for me — but it’s not for everyone.
It is really important to choose a business model that suits your personality rather than adjusting your personality to a specific business model. Being an entrepreneur takes courage, agility, innovation, boundless optimism — and a dollop of madness. We make mistakes, have false starts, adjust and recalibrate — until we reach that perfect balance, that state of stillness where the head and the heart are in perfect alignment, the vision is crystal clear and nothing — and no one — can stop us from making it a success. It’s not unlike the state of flow described by makers and artists.
The boutique closed after seven glorious years. It had served its purpose and it was time for me to go one step further in connecting my clients to the world of craft.
BRANCHING OUT … RUE PIGALLE ARTISANAL JOURNEYS
The hundreds of conversations I had with my clients in the boutique made me realize that I could better support the makers by engineering a personal relationship between them and my clients.
I wanted my audience to fully engage with the fascinating processes of craft — to understand the techniques, historical and sociocultural context, economic challenges and the values of craft. I wanted them to meet the human beings behind the irresistible objects that intrigue and enchant us. I wanted to forge a connection that goes beyond the commercial transaction, a transformative experience that alters people’s buying and living habits.
Travel seemed the best way to achieve that goal. And so Rue Pigalle Artisanal Journeys was born: the immersive exploration of a place through its crafts.
Francis Priest, ceramics, scottish design, contemporary ceramics
“Made by hand” objects are connectors of human stories. If we take the time to “listen” to the objects, we can hear the story of the artisan, her emotions, state of mind, challenges, heritage, skills, travails. And so, we add our story to hers, through that object that somehow recalls our own memories, elicits our own emotions, connects us to our own heritage.
And that object will eventually pass on to someone else. It will carry with it the stories of an artist and a stranger that somehow shared a bond.
I have this quote from Pico Iyer on my desk. It is my guiding light when I start creating an itinerary: “We travel, initially, to lose ourselves; and we travel, next, to find ourselves. We travel to open our hearts and eyes and learn more about the world …”
The making of a trip is a long process. It starts with several weeks of online research, followed by a scouting trip, when I personally vet every location to determine whether or not it will make it on the itinerary. It is akin to doing a puzzle: assembling all pieces to give the travelers a comprehensive understanding of, and appreciation for, a place.
Then, in partnership with the makers, we engineer moments of deep connection between them and the guests. It might be attending a letterpress workshop, handling a thousand-year-old object, harvesting reeds in the marshes, understanding the complexity of Ikat weaving. … My objective is always to create that moment of wondrous astonishment that imprints the place and the people in our minds and hearts. We re-learn the ability to stop, stare, admire, contemplate and reflect.
Why women-only travel? Initially, it was a business decision: It’s simpler to organize a trip for a single gender. But in time I realized the deep bond that forms between women during the trips. It might be a friendship that is filed away when we return home, or it might be the beginning of a lifelong friendship.
The emotional web we weave on a trip helps us to see and experience beyond ourselves, frees our compassion. It helps us to “open our hearts and eyes and learn more about the world …”
Places we have recently traveled to include France, South Africa, the Highlands and islands of Scotland, the U.K. and Italy. Places we are going to soon include some of those countries, and Nova Scotia and Norway. In 2023 we visited (or wrote about) 114 makers, representing 20 expert skills.
I champion crafts and support craftspeople because I believe that craft is one avenue toward responsible consumption and production. As a practice and career, craft is a joyful and optimistic way to address the serious issues of sustainability, skills transmission, community economy and equitable society.
It is important for me to operate on a philanthropic patronage principle: My company does not receive a commission on purchases made by our guests. The makers and galleries we visit receive 100% of the purchase price.
The positive impact of our work has been acknowledged by the artisans, gallery owners and craft organizations we partner with. We’ve been thrilled to discover that what are life-enriching experiences for us can be life-changing for an artisan maker. It is enormously gratifying to know that our work — and the support of our clients — is helping to make the world a better place.
Of course, this new direction is not without its challenges. When the lockdown happened, the travel business disappeared in a split second. I landed on my feet by developing an online program of artisanal conversations with makers. We took advantage of the technology, and the talks series was very successful, allowing us to travel virtually to craft studios worldwide. I have continued these alongside our in-person travel programme — and am personally very grateful to have both — and our reach is expanded.
It was also during lockdown that I launched The Club, by Rue Pigalle for women patrons of craft who celebrate and champion its place in everyday life.
Of course, craft is about appreciating workmanship and artistry, but it’s also about helping communities thrive, fostering sustainability and safeguarding artisanal skills for future generations. The Club has 67 members in three different countries.
Putting our money where our mouth is, we have just launched the Youth Craft Academy (YCA), in partnership with the Prince Edward County Arts Council. YCA is a three-year afterschool program for youth ages 13-16 with an interest in, or curiosity about, the art of craft. Taught by local artists and makers, the program aims to teach craft skills to students and teach them that craft can be a career. The Rue Pigalle Bursary, funded by the members of The Club, covers 75% of the cost of the program and no one is turned away based on their financial ability to pay the tuition.
I am extremely proud of this, and what we have achieved so far: The Club members have sponsored 12 young people for the entire three-year programme in ceramics, glass and wood. Nurturing young talent fits perfectly into our purpose at Rue Pigalle, to protect, defend and champion craft — for future generations.
How it started … Rue Pigalle, the gallery boutique I believe in the intrinsic value of manual intelligence, the crafted object, and the important role of artisans in society. It comes from having grown up in a French family of academics and intellectuals who revered artisans and attributed value to an object based on the skills it took to fashion it.
I discovered the world of fashion retail in Calgary (we moved there from London for my husband’s work) after meeting Roselyn, a concert pianist who sold French fashion, accessories and home decor. Because I spoke French, she hired me as her Saturday girl.
Roselyn could spot beauty a mile away. She effortlessly combined visual and emotional beauty, making everyone around her feel special. It is a talent I have admired and tried to emulate for the past 20 years. When I’m stuck or uncertain, I ask myself, “What would Roselyn do?” (She passed away and I miss her dearly.)
From Calgary, we moved to Toronto. Because I couldn’t find the fashion accessories or home decor I liked, I opened a gallery boutique to fill the gap. I named it Rue Pigalle, after my favorite Paris district — the home of the flâneur (or should that be the flâneus for us women?), a stroller about town, exploring the city streets for art and culture.
The boutique was an exciting project after a career in law, much international travel, and finally settling in Toronto and raising our family. It made me feel part of the city and enabled me to meet amazing women, either clients or artists, with whom I forged lifelong friendships.
I represented makers and artists unknown in Canada. No brands, only skillful, innovative makers — many of whom were emerging. Canadian culture (outside Quebec) puts an emphasis on an efficient, practical aesthetic that is reasonably priced and does not attract attention. That is so not in line with my French background! I sold pieces that were maximalist, easily sacrificed practicality for beauty, and finely crafted.
This uniqueness gave me an edge over other galleries, but it required a huge communication and marketing effort. It was really about creating the market for the makers, which makes for a challenging business model. But I never deviated from my vision, and I think my clients respected that and were incredibly supportive.
My retail business was built on passion. I had no business plan or experience but was convinced that it couldn’t fail … and somehow it worked. I am more of a creative than an analytical thinker and that approach worked for me — but it’s not for everyone.
It is really important to choose a business model that suits your personality rather than adjusting your personality to a specific business model. Being an entrepreneur takes courage, agility, innovation, boundless optimism — and a dollop of madness. We make mistakes, have false starts, adjust and recalibrate — until we reach that perfect balance, that state of stillness where the head and the heart are in perfect alignment, the vision is crystal clear and nothing — and no one — can stop us from making it a success. It’s not unlike the state of flow described by makers and artists.
The boutique closed after seven glorious years. It had served its purpose and it was time for me to go one step further in connecting my clients to the world of craft.
BRANCHING OUT … RUE PIGALLE ARTISANAL JOURNEYS
The hundreds of conversations I had with my clients in the boutique made me realize that I could better support the makers by engineering a personal relationship between them and my clients.
I wanted my audience to fully engage with the fascinating processes of craft — to understand the techniques, historical and sociocultural context, economic challenges and the values of craft. I wanted them to meet the human beings behind the irresistible objects that intrigue and enchant us. I wanted to forge a connection that goes beyond the commercial transaction, a transformative experience that alters people’s buying and living habits.
Travel seemed the best way to achieve that goal. And so Rue Pigalle Artisanal Journeys was born: the immersive exploration of a place through its crafts.
Francis Priest, ceramics, scottish design, contemporary ceramics
“Made by hand” objects are connectors of human stories. If we take the time to “listen” to the objects, we can hear the story of the artisan, her emotions, state of mind, challenges, heritage, skills, travails. And so, we add our story to hers, through that object that somehow recalls our own memories, elicits our own emotions, connects us to our own heritage.
And that object will eventually pass on to someone else. It will carry with it the stories of an artist and a stranger that somehow shared a bond.
I have this quote from Pico Iyer on my desk. It is my guiding light when I start creating an itinerary: “We travel, initially, to lose ourselves; and we travel, next, to find ourselves. We travel to open our hearts and eyes and learn more about the world …”
The making of a trip is a long process. It starts with several weeks of online research, followed by a scouting trip, when I personally vet every location to determine whether or not it will make it on the itinerary. It is akin to doing a puzzle: assembling all pieces to give the travelers a comprehensive understanding of, and appreciation for, a place.
Then, in partnership with the makers, we engineer moments of deep connection between them and the guests. It might be attending a letterpress workshop, handling a thousand-year-old object, harvesting reeds in the marshes, understanding the complexity of Ikat weaving. … My objective is always to create that moment of wondrous astonishment that imprints the place and the people in our minds and hearts. We re-learn the ability to stop, stare, admire, contemplate and reflect.
Why women-only travel? Initially, it was a business decision: It’s simpler to organize a trip for a single gender. But in time I realized the deep bond that forms between women during the trips. It might be a friendship that is filed away when we return home, or it might be the beginning of a lifelong friendship.
The emotional web we weave on a trip helps us to see and experience beyond ourselves, frees our compassion. It helps us to “open our hearts and eyes and learn more about the world …”
Places we have recently traveled to include France, South Africa, the Highlands and islands of Scotland, the U.K. and Italy. Places we are going to soon include some of those countries, and Nova Scotia and Norway. In 2023 we visited (or wrote about) 114 makers, representing 20 expert skills.
I champion crafts and support craftspeople because I believe that craft is one avenue toward responsible consumption and production. As a practice and career, craft is a joyful and optimistic way to address the serious issues of sustainability, skills transmission, community economy and equitable society.
It is important for me to operate on a philanthropic patronage principle: My company does not receive a commission on purchases made by our guests. The makers and galleries we visit receive 100% of the purchase price.
The positive impact of our work has been acknowledged by the artisans, gallery owners and craft organizations we partner with. We’ve been thrilled to discover that what are life-enriching experiences for us can be life-changing for an artisan maker. It is enormously gratifying to know that our work — and the support of our clients — is helping to make the world a better place.
Of course, this new direction is not without its challenges. When the lockdown happened, the travel business disappeared in a split second. I landed on my feet by developing an online program of artisanal conversations with makers. We took advantage of the technology, and the talks series was very successful, allowing us to travel virtually to craft studios worldwide. I have continued these alongside our in-person travel programme — and am personally very grateful to have both — and our reach is expanded.
It was also during lockdown that I launched The Club, by Rue Pigalle for women patrons of craft who celebrate and champion its place in everyday life.
Of course, craft is about appreciating workmanship and artistry, but it’s also about helping communities thrive, fostering sustainability and safeguarding artisanal skills for future generations. The Club has 67 members in three different countries.
Putting our money where our mouth is, we have just launched the Youth Craft Academy (YCA), in partnership with the Prince Edward County Arts Council. YCA is a three-year afterschool program for youth ages 13-16 with an interest in, or curiosity about, the art of craft. Taught by local artists and makers, the program aims to teach craft skills to students and teach them that craft can be a career. The Rue Pigalle Bursary, funded by the members of The Club, covers 75% of the cost of the program and no one is turned away based on their financial ability to pay the tuition.
I am extremely proud of this, and what we have achieved so far: The Club members have sponsored 12 young people for the entire three-year programme in ceramics, glass and wood. Nurturing young talent fits perfectly into our purpose at Rue Pigalle, to protect, defend and champion craft — for future generations.
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How it started … Rue Pigalle, the gallery boutique I believe in the intrinsic value of manual intelligence, the crafted object, and the important role of artisans in society. It comes from having grown up in a French family of academics and intellectuals who revered artisans and attributed value to an object based on the skills it took to fashion it.
I discovered the world of fashion retail in Calgary (we moved there from London for my husband’s work) after meeting Roselyn, a concert pianist who sold French fashion, accessories and home decor. Because I spoke French, she hired me as her Saturday girl.
Roselyn could spot beauty a mile away. She effortlessly combined visual and emotional beauty, making everyone around her feel special. It is a talent I have admired and tried to emulate for the past 20 years. When I’m stuck or uncertain, I ask myself, “What would Roselyn do?” (She passed away and I miss her dearly.)
From Calgary, we moved to Toronto. Because I couldn’t find the fashion accessories or home decor I liked, I opened a gallery boutique to fill the gap. I named it Rue Pigalle, after my favorite Paris district — the home of the flâneur (or should that be the flâneus for us women?), a stroller about town, exploring the city streets for art and culture.
The boutique was an exciting project after a career in law, much international travel, and finally settling in Toronto and raising our family. It made me feel part of the city and enabled me to meet amazing women, either clients or artists, with whom I forged lifelong friendships.
I represented makers and artists unknown in Canada. No brands, only skillful, innovative makers — many of whom were emerging. Canadian culture (outside Quebec) puts an emphasis on an efficient, practical aesthetic that is reasonably priced and does not attract attention. That is so not in line with my French background! I sold pieces that were maximalist, easily sacrificed practicality for beauty, and finely crafted.
This uniqueness gave me an edge over other galleries, but it required a huge communication and marketing effort. It was really about creating the market for the makers, which makes for a challenging business model. But I never deviated from my vision, and I think my clients respected that and were incredibly supportive.
My retail business was built on passion. I had no business plan or experience but was convinced that it couldn’t fail … and somehow it worked. I am more of a creative than an analytical thinker and that approach worked for me — but it’s not for everyone.
It is really important to choose a business model that suits your personality rather than adjusting your personality to a specific business model. Being an entrepreneur takes courage, agility, innovation, boundless optimism — and a dollop of madness. We make mistakes, have false starts, adjust and recalibrate — until we reach that perfect balance, that state of stillness where the head and the heart are in perfect alignment, the vision is crystal clear and nothing — and no one — can stop us from making it a success. It’s not unlike the state of flow described by makers and artists.
The boutique closed after seven glorious years. It had served its purpose and it was time for me to go one step further in connecting my clients to the world of craft.
BRANCHING OUT … RUE PIGALLE ARTISANAL JOURNEYS
The hundreds of conversations I had with my clients in the boutique made me realize that I could better support the makers by engineering a personal relationship between them and my clients.
I wanted my audience to fully engage with the fascinating processes of craft — to understand the techniques, historical and sociocultural context, economic challenges and the values of craft. I wanted them to meet the human beings behind the irresistible objects that intrigue and enchant us. I wanted to forge a connection that goes beyond the commercial transaction, a transformative experience that alters people’s buying and living habits.
Travel seemed the best way to achieve that goal. And so Rue Pigalle Artisanal Journeys was born: the immersive exploration of a place through its crafts.
Francis Priest, ceramics, scottish design, contemporary ceramics
“Made by hand” objects are connectors of human stories. If we take the time to “listen” to the objects, we can hear the story of the artisan, her emotions, state of mind, challenges, heritage, skills, travails. And so, we add our story to hers, through that object that somehow recalls our own memories, elicits our own emotions, connects us to our own heritage.
And that object will eventually pass on to someone else. It will carry with it the stories of an artist and a stranger that somehow shared a bond.
I have this quote from Pico Iyer on my desk. It is my guiding light when I start creating an itinerary: “We travel, initially, to lose ourselves; and we travel, next, to find ourselves. We travel to open our hearts and eyes and learn more about the world …”
The making of a trip is a long process. It starts with several weeks of online research, followed by a scouting trip, when I personally vet every location to determine whether or not it will make it on the itinerary. It is akin to doing a puzzle: assembling all pieces to give the travelers a comprehensive understanding of, and appreciation for, a place.
Then, in partnership with the makers, we engineer moments of deep connection between them and the guests. It might be attending a letterpress workshop, handling a thousand-year-old object, harvesting reeds in the marshes, understanding the complexity of Ikat weaving. … My objective is always to create that moment of wondrous astonishment that imprints the place and the people in our minds and hearts. We re-learn the ability to stop, stare, admire, contemplate and reflect.
Why women-only travel? Initially, it was a business decision: It’s simpler to organize a trip for a single gender. But in time I realized the deep bond that forms between women during the trips. It might be a friendship that is filed away when we return home, or it might be the beginning of a lifelong friendship.
The emotional web we weave on a trip helps us to see and experience beyond ourselves, frees our compassion. It helps us to “open our hearts and eyes and learn more about the world …”
Places we have recently traveled to include France, South Africa, the Highlands and islands of Scotland, the U.K. and Italy. Places we are going to soon include some of those countries, and Nova Scotia and Norway. In 2023 we visited (or wrote about) 114 makers, representing 20 expert skills.
I champion crafts and support craftspeople because I believe that craft is one avenue toward responsible consumption and production. As a practice and career, craft is a joyful and optimistic way to address the serious issues of sustainability, skills transmission, community economy and equitable society.
It is important for me to operate on a philanthropic patronage principle: My company does not receive a commission on purchases made by our guests. The makers and galleries we visit receive 100% of the purchase price.
The positive impact of our work has been acknowledged by the artisans, gallery owners and craft organizations we partner with. We’ve been thrilled to discover that what are life-enriching experiences for us can be life-changing for an artisan maker. It is enormously gratifying to know that our work — and the support of our clients — is helping to make the world a better place.
Of course, this new direction is not without its challenges. When the lockdown happened, the travel business disappeared in a split second. I landed on my feet by developing an online program of artisanal conversations with makers. We took advantage of the technology, and the talks series was very successful, allowing us to travel virtually to craft studios worldwide. I have continued these alongside our in-person travel programme — and am personally very grateful to have both — and our reach is expanded.
It was also during lockdown that I launched The Club, by Rue Pigalle for women patrons of craft who celebrate and champion its place in everyday life.
Of course, craft is about appreciating workmanship and artistry, but it’s also about helping communities thrive, fostering sustainability and safeguarding artisanal skills for future generations. The Club has 67 members in three different countries.
Putting our money where our mouth is, we have just launched the Youth Craft Academy (YCA), in partnership with the Prince Edward County Arts Council. YCA is a three-year afterschool program for youth ages 13-16 with an interest in, or curiosity about, the art of craft. Taught by local artists and makers, the program aims to teach craft skills to students and teach them that craft can be a career. The Rue Pigalle Bursary, funded by the members of The Club, covers 75% of the cost of the program and no one is turned away based on their financial ability to pay the tuition.
I am extremely proud of this, and what we have achieved so far: The Club members have sponsored 12 young people for the entire three-year programme in ceramics, glass and wood. Nurturing young talent fits perfectly into our purpose at Rue Pigalle, to protect, defend and champion craft — for future generations.
The Women Create Foundation is a catalyst for small but significant strides to empower women creators through grants that help bring projects to life and foster innovation.
