What first drew you to working with natural materials like leather, wood, and ceramics?
I think it began with the love for craft, and beautiful objects that stand the test of time. My parents always preferred objects that are long lasting, and although we came from a blue collar background, they would educate us to acquire and appreciate objects that would be handed down to the next generation, even if they were more costly. When I started my design studies, I think it really struck me. I learned about crafts and materials that have such long traditions, and I thought tapping into these traditions would be interesting, to produce something new and fresh using knowledge that was passed down from the older generations. I think it is also a hallmark of good design, if it can communicate to the older generations, as well as the younger generation.
You’ve described your work as “quirky and tactile” – how do playfulness and craftsmanship coexist in your design philosophy?
I think I just want to have fun. Design should be FUN, not just FUNctional. To me, the magic happens when something feels surprising, whimsical, and a bit quirky – whilst also being rooted in years of knowledge and expertise. I think a pinch of quirkiness lets objects connect also with people outside the design world, inviting them to discover the beauty of craftsmanship.
What does leather represent to you as a material – both in a practical and emotional sense?
For me, leather is an incredibly diverse material – it invites versatility and experimentation. It offers such a wide variety of colors and finishes, which makes it endlessly expressive in design. Beyond its function and even appearance, leather has always represented for me a sense of care and refinement that comes from something made thoughtfully and made to last.
Can you tell us about the origins of the CADABRA vase? What inspired the concept of a foldable ceramic and leather piece?
CADABRA came about quite instinctively, as part of my ongoing exploration of the dialogue between ceramics and leather. It began with leftover ceramic tiles from another project and leather straps that were originally meant for belts. My first idea was simply to weave them into a wall piece.
But when I later moved apartments, I folded the piece for transport – and suddenly realized its potential. It could shift between forms: fold flat like a textile, or curve into a cylinder like a vase (hence the name – CADABRA, because it changes like magic). Leather has qualities you don’t often find in other materials, so in my practice, I’m always trying to come up with new uses and techniques for it.
You’ve mentioned that CADABRA began as an experiment with leftover ceramic tiles and leather straps – did sustainability influence your approach?
Yes, 100%. There’s a certain charm in using cutoffs and unused materials – it forces you to think on your feet and design within the framework of what’s available.
From the start, I also saw the potential in CADABRA’s ability to fold flat for transport. It means there’s no need for a bulky box or a lot of plastic packing materials. And since I’m working with leather straps, I can make the most out of each piece of leather, working around scars or blemishes on the surface.
What challenges did you face in combining such contrasting materials – hard ceramics and flexible leather – into one cohesive design?
Since I’ve been experimenting with this combination for quite a while, I’ve grown used to the contrast, but it’s still a very challenging one. With leather, the work is physically intense – punching holes with a mallet, stitching, and using lots of metal tools. Ceramics, on the other hand, are delicate and can’t handle force at all.
It demands a very careful, planned, and hands-on approach – I need to constantly make sure the ceramics are protected while I’m working with the leather, and test fitting parts can be a nerve wracking experience . Precision and patience are essential.
The vase’s ability to shift from flat to cylindrical is striking. How important is transformation and adaptability in your work?
I think this fascination goes back to my childhood. I always loved mechanical objects – things that can move, change, and transform.
When you can interact with an object, it becomes so much more meaningful than just looking at or even touching it. Operating a piece of design is fun, and I’m happy I was able to transfer that experience to the user. Functionally, this transformation also opens up a variety of uses. For example, you can connect two vases to create a larger one. I’m still exploring more use cases – I believe there’s so much potential in this format.
Leather plays a unique role in your pieces – almost as both structure and connector. What qualities of leather make it so integral to your designs?
Leather can adapt to so many different uses, which opens up endless possibilities – especially when I’m combining it with other materials. Another thing is that it has such a rich heritage of craft and technique, which makes it easy to draw from existing knowledge while developing new methods. I think that’s what makes it so unique – it’s both traditional and experimental at the same time.
Do you approach leather differently when you pair it with other materials like ceramics or wood?
Yes, absolutely. Leather carries a different cultural weight when paired with ceramics than when paired with wood for instance. We’re used to seeing leather and wood together – in furniture, for example. But with leather and ceramics, it’s less common, so I approach it with the aim of innovating while still keeping it understandable and digestible for the audience, and of course, also functionally innovative.. It’s been an ongoing process, building up methods over the years and refining them step by step.
How do you balance traditional craft techniques with contemporary design ideas in your work?
I think they naturally support each other. Traditional crafts bring warmth, grounding, and a kind of honesty to an object, while contemporary design thinking helps keep it relevant and bring it to market.. Having a designer’s mind helps me look at traditional techniques in a way that will be able to carry them forward.
You’re moving to Japan to showcase Kawatsugi at DesignART Tokyo – congratulations. Can you tell us about the project and what inspired it?
Thank you! Kawatsugi is a contemporary take on the Japanese art of kintsugi, but instead of using Urushi lacquer and gold, I use leather and leathercraft techniques to repair ceramics. The project began when I was working in a design shop that imported Japanese ceramics. Some pieces arrived broken during shipment, and I didn’t want them to end up in the trash.
I originally thought of repairing them traditionally using kintsugi, but I quickly realized I wanted to develop a new kind of craft – building on top of my own material vocabulary. I began experimenting with leather as both a structural and aesthetic solution, and thought it can open up a lot of possibilities, and act as a bridge between my work and Japanese craft traditions. Now this project is going to grow into the future, collaborating with Japanese pottery artisans, taking their broken pieces and building this project as a storytelling experience.
Kawatsugi reinterprets kintsugi, using leather instead of lacquer to repair ceramics. What made you want to explore this connection between Japanese and Western craft traditions?
I always like that moment when things migrate around the world, and new meetings occur
I think bringing this new material and approach to a hundreds of years old craft can
How does Kawatsugi build on or differ from CADABRA?
It’s a good question, because on the surface they look like very different projects, but in fact, there’s a lot that connects them. I was working on both around the same time, so ideas, processes, and ways of thinking naturally crossed over. In CADABRA, I was working with my own forms – designs that I came up with and made from scratch. Kawatsugi was the opposite: I reacted to what already existed, to broken or discarded objects, and tried to bring them somewhere new. So one is about creating, and the other about responding. In a way, Kawatsugi taught me to let go of control a bit and listen to the material more, which also helped shape CADABRA.
What does exhibiting in Japan mean to you personally and professionally?
It’s honestly a dream. Japan has influenced so much of my thinking – from its approach to craft to its sensibility toward materials. Exhibiting in Japan feels like coming full circle. On a professional level, it’s also a meaningful step – this project was born from Japan, and I have a feeling it will keep evolving here as well.
Japanese craft culture places great importance on repair and imperfection – how has that philosophy influenced your practice?
It’s had a profound impact. The concept of wabi-sabi – seeing beauty in imperfection and transience – deeply resonates with me. I’m not merely interested in perfect objects. I’m drawn to the emotional and material stories that come from wear and use. Kawatsugi wouldn’t exist without the Japanese appreciation for repairing broken objects.. That philosophy has taught me to slow down, to value the process over the outcome, and to see design as a form of care – for materials, traditions, and the people who use the objects I make.
Your pieces blend art, design and functionality. How do you decide where a work sits on that spectrum?
I rarely begin by deciding whether something should be more or less functional. I let the concept and material lead. Some pieces, like CADABRA, develop into functional challenges. Others, like Kawatsugi, are less concerned with function and more about telling their story in the most meaningful way. It’s not an easy thing to balance as a designer, because making non-functional things is quite puzzling thing, but I try to find a place in my spectrum for each project.
What role does manual skill and material testing play in your design process?
A huge one. I don’t really separate thinking from making – they’re deeply intertwined for me. I really prefer working hands-on with the material, rather than being only in front of the screen all day .Also for me that’s where the real discoveries happen. Some of my best ideas have come from accidents in the workshop or from trying something that “shouldn’t” work. Manual skill is a language, the more fluent you become, the more freely you can experiment and communicate through the work.
How do you see your relationship with leather evolving in the coming years – are there new techniques or collaborations you’d like to explore?
Definitely. Leather still has so much potential I haven’t touched on. I’m particularly interested in developing more hybrid techniques – deepening my experiments into ceramics and leather or combining leather with more materials. I’d love to collaborate with tanneries, brands in the leather goods world and beyond, to really shed new light on what we can do with leather, also when it is combined with other materials.
For young designers entering the Real Leather. Stay Different. competition, what advice would you give about working with leather or other natural materials?
Don’t be intimidated by tradition, but don’t ignore it either. Natural materials come with a history, and there’s a lot to gain from understanding how people have worked with them in the past. But at the same time, don’t be afraid to question, disrupt, and find your own voice with them. Try things that feel a bit strange or even impractical at first – leather is forgiving if you let it be. Also, be mindful of sourcing. A big part of working with natural materials responsibly is knowing where they come from and how they’re treated.
Lastly, how do you hope audiences will feel when they interact with your work – whether CADABRA, Kawatsugi, or future projects?
I think the two main things I hope for are curiosity and a smile. Design and art can make us feel so many things, but these are the feelings I aim for – and the reason I get up every day and keep doing what I do.
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