There’s a particular kind of alchemy that happens when tradition meets experimentation – when centuries-old craft techniques are reimagined through a contemporary lens, not to replace what came before, but to carry it forward. Craft-designer-artist Roee Ben Yehuda understands this instinctively. Working at the intersection of ceramics, wood and leather, his practice is defined by a rare combination: deep respect for manual craftsmanship and an irrepressible sense of play.
“Design should be FUN, not just FUNctional,” Roee tells us, and it’s a philosophy that permeates every aspect of his work – from the transformative CADABRA vase to his innovative Kawatsugi project, recently showcased at DesignART Tokyo. His approach to materials, particularly leather, reveals an artist who sees potential where others might see limitation and beauty in the unexpected marriage of contrasting elements.
Roee’s relationship with natural materials didn’t begin in design school – it started at home. “I think it began with the love for craft, and beautiful objects that stand the test of time,” he explains. “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.”
This early education in value – not monetary, but generational – shaped his entire design philosophy. When he began his formal studies, the revelation came into focus: “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.”
It’s this bridging of generations that makes Roee’s work so compelling. He believes good design should communicate across age groups, creating a dialogue between past and present. “I think it is also a hallmark of good design, if it can communicate to the older generations, as well as the younger generation.”
Ask Roee about his design philosophy, and his answer is refreshingly direct: “I think I just want to have fun.” But this isn’t frivolity – it’s a deliberate choice to infuse objects with joy and surprise. “To me, the magic happens when something feels surprising, whimsical, and a bit quirky – whilst also being rooted in years of knowledge and expertise.”
This “pinch of quirkiness,” as he calls it, serves a purpose beyond aesthetics. It acts as an invitation, a way to connect with people outside the insular design world. “I think a pinch of quirkiness lets objects connect also with people outside the design world, inviting them to discover the beauty of craftsmanship.”
It’s a democratic approach to craft – one that doesn’t demand specialised knowledge to appreciate, but rewards closer attention with deeper understanding.
For Roee, leather represents something unique in his material vocabulary. “For me, leather is an incredibly diverse material – it invites versatility and experimentation,” he explains. “It offers such a wide variety of colours and finishes, which makes it endlessly expressive in design.”
But beyond its technical properties, leather carries emotional weight. “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.”
This understanding of leather as both practical and poetic informs how he approaches it in combination with other materials. When paired with wood, the relationship feels familiar – we’re culturally accustomed to seeing these materials together. But leather and ceramics? That’s where Roee finds fertile ground for innovation.
“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.”
The CADABRA vase – a striking fusion of custom ceramic tiles woven into premium hand-stitched leather straps – came about almost by chance. “It began with leftover ceramic tiles from another project and leather straps that were originally meant for belts,” Roee recalls. “My first idea was simply to weave them into a wall piece.”
The transformative moment came during a move. “When I later moved apartments, I folded the piece for transport – and suddenly realised 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).”
This ability to transform speaks to Roee’s childhood fascination with mechanical objects – “things that can move, change, and transform.” But it also addresses practical concerns around sustainability. The piece folds flat for transport, eliminating the need for bulky packaging. “It means there’s no need for a bulky box or a lot of plastic packing materials.”
Sustainability wasn’t an afterthought – it was embedded in the project’s DNA. “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,” he notes. Working with leather straps allowed him to “make the most out of each piece of leather, working around scars or blemishes on the surface.”
The technical challenges of combining hard ceramics with flexible leather are considerable. “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.” The solution requires patience and precision: “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.”
If CADABRA represents creation from scratch, Kawatsugi represents response and repair. The project reinterprets the Japanese art of kintsugi – traditionally using urushi lacquer and gold to repair broken ceramics – through leather and leathercraft techniques.
The origin story is telling. “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.” Rather than simply applying traditional kintsugi methods, Roee saw an opportunity to develop something new. “I quickly realised I wanted to develop a new kind of craft – building on top of my own material vocabulary.”
Leather became both a structural solution and an aesthetic choice, “a bridge between my work and Japanese craft traditions.” The project has since evolved into a collaboration with Japanese pottery artisans, “taking their broken pieces and building this project as a storytelling experience.”
The philosophical resonance runs deep. Japanese craft culture’s emphasis on wabi-sabi – finding beauty in imperfection and transience – aligns perfectly with Roee’s own values. “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.”
This philosophy has fundamentally shaped his practice: “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.”
Roee’s process is deeply tactile. “I don’t really separate thinking from making – they’re deeply intertwined for me,” he explains. “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.”
This hands-on approach has yielded unexpected breakthroughs. “Some of my best ideas have come from accidents in the workshop or from trying something that ‘shouldn’t’ work.” He views manual skill as a language: “The more fluent you become, the more freely you can experiment and communicate through the work.”
Looking ahead, Roee sees endless potential in leather. “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.” He’s eager to collaborate with tanneries and brands “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, Roee’s advice balances respect and rebellion: “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.”
He encourages experimentation: “Try things that feel a bit strange or even impractical at first – leather is forgiving if you let it be.” But he also emphasises responsibility: “Be mindful of sourcing. A big part of working with natural materials responsibly is knowing where they come from and how they’re treated.”
Exhibiting Kawatsugi at DesignART Tokyo represented a full-circle moment. “Japan has influenced so much of my thinking – from its approach to craft to its sensibility towards materials. Exhibiting in Japan feels like coming full circle,” Roee reflects. “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.”
When asked how he hopes audiences will feel when interacting with his work, his answer returns to those foundational values: “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.”
Roee Ben Yehuda’s work embodies everything Real Leather. Stay Different. celebrates: innovation rooted in tradition, sustainability embedded in process and a profound respect for natural materials that improves with time rather than deteriorating with use.
His approach to leather – as a versatile, expressive material with both rich heritage and experimental potential – demonstrates exactly why this material continues to inspire new generations of designers. He doesn’t see leather as a constraint, but as a creative partner with its own language and logic, one that rewards patience, skill and imagination.
What strikes us most about Roee’s practice is his refusal to separate beauty from responsibility, or playfulness from precision. His work proves that contemporary design can honour centuries-old craft traditions while pushing boundaries and asking new questions. That objects can be both fun and functional, both quirky and carefully made, both innovative and rooted in material honesty.
In a world increasingly dominated by synthetic materials and disposable design, Roee’s commitment to natural materials, thoughtful repair and objects built to last represents a quiet but powerful form of resistance. His work reminds us that good design isn’t just about solving problems – it’s about creating connections: between materials, between generations, between cultures and, ultimately, between objects and the people who live with them.
This is design as care. This is craft as conversation. This is exactly why natural materials like leather will always stay different.
Read the full interview with Roee Ben Yehuda here, and explore more of his work at RoeeBy.com and on Instagram @roeeby.
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