GUILD MEMBER SPOTLIGHT

Do you remember the first time you worked with leather? What did you make?

The first piece I made was a simple pen holder during a one-day visit to a craft school in Bogotá. At that point, I was in the middle of a big transition. I had spent over 17 years working as an industrial engineer, and after building a business that failed during the pandemic, I was trying to figure out what came next. That day, I found leather almost by accident. We were given pre-cut pieces and shown how to assemble them. I remember feeling completely out of my depth. I had never really worked with my hands before, and even threading a needle felt unfamiliar. But something clicked. The material, the smell, the texture, and especially the stitching just felt right in a way I couldn’t explain.

I still have that first pen holder. It reminds me of the moment I stopped being afraid of making things and started a new chapter.

What part of the process do you love most, and what part do you struggle with?

What I love most is hand stitching. For me, it’s almost meditative. There’s a rhythm to it that forces you to slow down and pay attention. What I still struggle with is patience, not just in leatherwork, but in general. This craft has been a good teacher in that way. It keeps reminding me that you can’t rush things if you want them to turn out well. It also connects to the philosophy behind my brand, “Craft is slow cooking.” The best results come when you give the process the time it needs.

How did you learn to tan fish skins and how do you incorporate them in your work?

My work with fish leather also started by chance. I came across the idea that you could tan fish skins using vegetable tannins, and it immediately caught my attention. I ended up learning remotely from a craftswoman who had studied at the same school as I did and was living in Alaska at the time. She walked me through the process step by step.

Since then, I’ve been experimenting and developing my own variations. It’s still very much a work in progress, since things like softness and consistency change depending on the type of fish. I’ve also started incorporating it into pieces like leather-bound notebooks.

What I like most about it is that it turns something that would normally be discarded into something useful and beautiful. That idea is important to me and has become part of my brand.

Where do you find inspiration for your next piece?

I find a lot of inspiration in Japanese leathercraft, especially its precision and restraint. I’m drawn to objects that are simple, functional, and quietly refined.

I’m also influenced by personal history. One of my recent collections, for example, was inspired by the old roads connecting the towns where my parents were born. And sometimes the material leads. I try to pay attention to what it wants to do instead of forcing a fixed idea from the start.

What’s a mistake you made early on that still makes you laugh or cringe?

Early on, I underestimated how important timing is in the process. I rushed a piece that needed careful drying and shaping and ended up ruining it. The structure just collapsed. At the time it was frustrating. Now it’s something I think about whenever I feel tempted to rush. Leather doesn’t really let you get away with that.

If your work had a personality, how would you describe it?

I’d say it’s calm, intentional, and honest. There’s a lot of attention to detail, but I try to avoid excess. I want the design, material, and function to feel balanced.

Lately, I’ve also been exploring ways to personalize pieces more, such as tattooing on leather, to create a stronger connection between the object and the person who owns it.

In general, I think of my work as rooted in tradition but open to experimentation. That balance is important to me.

What do you hope someone feels when they pick up one of your pieces?

I hope they feel some kind of connection. To the material, to the time that went into it, and to the fact that it was made by hand. Most things today are made quickly and without much trace of the person behind them. I’d like my work to feel different in that sense, even if it’s subtle.

CONTACT DETAILS FOR DIEGO

Instagram: @paternoleather

Website: www.paternoleather.com (website under construction)