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Agnes Virag Moricz portrait
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Credit: Akta photography

Drawn by hand and brought to life in my London studio, each piece starts with a simple sketch before becoming something to be carried for years, not seasons. The brand was founded in 2025, but its philosophy has been with me much longer: a belief that the finest objects are those shaped by human excellence and designed to outlive trends.

To me, sustainability begins long before a product reaches its owner. It begins with making something so well that it never needs replacing or if it needs to be repaired, you know who to contact. A bag should accompany its owner through decades of everyday life, gathering character with every journey, becoming more beautiful as it ages.

Wherever possible, I source my materials within the United Kingdom. Britain's leather industry is built upon centuries of trade and craftsmanship, yet today it faces the decline of tanneries as manufacturers increasingly turn to lower-cost alternatives overseas. Choosing local suppliers is my way of supporting the skills, workshops and tanneries that continue to preserve this remarkable tradition. Every Moricz piece is an investment not only in craftsmanship, but in the future of British leathercraft.

The Moricz hourglass represents the value of time, both yours and ours. It reflects the hours spent designing, refining, and making each piece, but also the years it is intended to accompany you. It is a reminder that true quality is never rushed, and that choosing well means never having to question whether something was worth the investment.

My ambition extends beyond creating leather goods. My vision is to establish an in-house London atelier where traditional craftsmanship is preserved, skilled artisans are supported, and every product reflects the belief that thoughtful manufacturing still has an important place in an increasingly disposable world.

Designed and Made in London. Carried for life.

I would like to express my sincere gratitude to my parents, the Worshipful Company of Curriers, Ian O.M, my patrons, and the University of the Arts London and all my friends for their generous support, encouragement, and belief in my work. Their continued guidance and investment in traditional craftsmanship have made this collection possible, and I am deeply grateful to have them as part of my journey.

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