We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Stéphanie Branco ("SB").
Stéphanie Branco is an architect since 2006 and her passion for craftsmanship emerged in 2010 when she made her first pair of shoes, entirely by hand, while working in Paris. Being the 4th generation of craftsman, her passion for craftsmanship runs in her blood. In 2011 she founded ASA Leather Work. In 2016 she came back to Portugal, her homeland, to study Footwear Design and work with as a Production Manager for national & international brands. Later, in a self-taught way, she started practicing the saddle stitch technique and made a wallet for a friend and bags for her. And she never stopped. A true passion was born and the therapeutic feeling of working with her hands was fantastic. She now strives to preserve the hand sew technique “Saddle Stitch”, which is about to disappear in Portugal. Her training in architecture gives her the natural ability to imagine and build her products, as well as attention to detail, maintaining the highest level of quality. She sews, cuts and assembles each piece of leather manually, inspired by the traditional techniques.
Stéphanie Branco Designs
We are pleased to share with you original and innovative design work by Stéphanie Branco.
Stéphanie Branco Design - Switchbag Backpack
Designer Interview of Stéphanie Branco:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
SB : With a degree in architecture, I practiced as an architect for 15 years in Madrid, Paris, and Lisbon. From a young age, I've had a passion for drawing and a strong creative drive. Despite my architectural background, I yearned for more hands-on work. This led me to initially learn the craft of handmade shoemaking and later delve into the art of leather goods using the ancient technique known as "saddle stitch", meticulously sewn by hand.
DI: Can you tell us more about your company / design studio?
SB : ASA Leather Work makes Bespoke Leather Products handstitched and 100% handmade with upcycled leather in Lisbon, Portugal. Bespoke and personalized products are unique & exclusive, and they cannot be found on the market. Our commitment to sustainability goes beyond trend; it’s a conscious choice to reduce excess, minimize waste, and offer a truly personalized experience. By embracing this approach, we provide our clients with the rare opportunity to own a Limited Edition creation that aligns perfectly with their dreams and desires. With us, it’s not just about buying—it’s about investing in products that are thoughtfully crafted, ensuring you ‘Buy Less, but Better.’ Our leather is up-cycled in Portugal and comes from surplus stock of luxury tanneries. That allows us to keep our suppliers close and preserve the Local & Circular Economy. We choose to manufacture with leather because, for now, leather is a meat industry by-product, so it still must be treated and transformed. Beyond that, leather is also a very resistant material therefore long-lasting. That is why our low-impact goods are made to last generations. Saddle stitching is a technique that is in danger of dying out or going obsolete in Portugal and it’s hard to find places that still teach these skills. ASA runs a series of Workshops where we teach how to make your own leather goods. It is something very significant for us, because we want to pass on the passion and raise the appreciation for traditional craftsmanship to future generations. This will Empower the future Leather Goods Designers & Makers by providing them with training/skill sets.
DI: What is "design" for you?
SB : Drawing from my architectural background, I strongly believe that design should serve a purpose. The Portuguese architectural tradition in which I was trained greatly emphasizes this principle, prioritizing conceptualization before project commencement. To me, designing without a concept or underlying statement feels incomplete. I find immense satisfaction in utilizing my creations to engage with societal issues or current events. Thus, for me, design represents a powerful tool for shifting mindsets and enhancing people's lives.
DI: What kinds of works do you like designing most?
SB : I have a strong affinity for designing products that facilitate organization in people's lives. I'm somewhat obsessed with orderliness and constantly seek out new ways to enhance it through innovative products. Consequently, I thoroughly enjoy conceptualizing objects of this nature. However, I also find great pleasure in making more artistic pieces, devoid of specific functionality aside from their aesthetic appeal.
DI: What is your most favorite design, could you please tell more about it?
SB : Selecting just one is challenging, but I particularly admire Pierre Cardin's furniture for its seamless fusion of futuristic design, artistic flair, and practical ingenuity. Additionally, the works of architect and designer Ettore Sottsass hold a special place in my heart. His pieces defy conventional design conventions, embracing striking patterns, vivid colors, and diverse materials, making a bold statement in the world of design.
DI: What was the first thing you designed for a company?
SB : It all began with a shoe! I had the fortunate opportunity to collaborate with Guava Shoes, a renowned Portuguese footwear brand. It was an immense privilege to contribute to such an exceptional project.
DI: What is your favorite material / platform / technology?
SB : I have a deep fondness for leather because of its organic nature. Its versatility and multifaceted qualities are unmatched, and I wouldn't exchange this material for anything else. While I acknowledge that leather is a controversial material in today's world, I believe much of the controversy stems from misinformation. Leather has been recycled since prehistoric times and continues to be recycled as long as meat is consumed. It is a durable and resilient material, and when vegetable-tanned, it is biodegradable.
DI: When do you feel the most creative?
SB : I don't have a particular moment designated for creativity, but I find that after traveling, especially returning from events like Milan Design Week, creativity tends to flow more readily. However, inspiration can strike from anywhere and at any time—whether it's sparked by a film, a sculpture, a building, or a craft technique. The key is to remain attentive and relaxed, allowing my mind the space to wander and my projects and drawings room to breathe.
DI: Which aspects of a design do you focus more during designing?
SB : Functionality is paramount. I consider it a fundamental aspect of the architectural profession. If an object fails to fulfill its intended function, then it cannot be considered a successful design.
DI: What kind of emotions do you feel when you design?
SB : Panic and moments of self-doubt are inevitable for artists and designers alike. However, witnessing people use my products brings me immense joy and a sense of fulfillment, knowing that I've achieved my mission.
DI: What kind of emotions do you feel when your designs are realized?
SB : As I prepare to unveil a new product, I'm enveloped in a mix of curiosity, anticipation, and excitement. Each unveiling is akin to embarking on a journey, with the destination unknown until the reactions of others reveal it. It's a thrilling moment, filled with the possibility of positive reception and the potential for further innovation. These emotions fuel my creative spirit and inspire me to continue pushing boundaries in my design endeavors.
DI: What makes a design successful?
SB : At the heart of every successful product lies the people who use it. Our creations are born out of a desire to meet existing needs, and sometimes, through innovation, we even uncover needs that were previously unknown. However, it's the individuals—the end-users—who ultimately give purpose and meaning to our designs. Without their input, feedback, and engagement, our work would lack direction and significance. They are the driving force behind our creative endeavors, the ones we strive to connect with and inspire through our designs. In essence, people are not just the recipients of our creations; they are the very reason for their existence.
DI: When judging a design as good or bad, which aspects do you consider first?
SB : Answering this question poses a significant challenge. I hold the belief that every individual brings their unique background and sensibilities to their perception of design. What one person finds captivating, another might not. Therefore, my initial consideration centers around my own reaction: do I personally resonate with the design? Does it evoke any emotions or stir something within me when I encounter it? I prioritize this emotional response as a critical factor in evaluating a design's merit. However, beyond my own subjective assessment, I also consider its functionality, innovation, and the potential impact it may have on others' lives. Ultimately, a successful design should strike a balance between personal appeal and broader significance.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
SB : In today's world, the role of the designer is more crucial than ever. We hold the responsibility of bringing products into circulation, and with that, comes the imperative to prioritize sustainability. It's imperative that our creations leave the smallest possible footprint on the planet, boasting longevity that allows them to transcend generations and remain timeless. As guardians of design, we have the power to shape not only the present but also the future, steering towards a more sustainable and enduring world through our creations.
DI: How do you think the "design field" is evolving? What is the future of design?
SB : The evolution of design demands a heightened sense of consciousness and a multidisciplinary approach. We live in an era abundant with technological advancements, from AI tools and augmented reality to 3D printing. However, it's essential to harness these innovations for the betterment of humanity while also preserving traditional techniques—the craftsmanship that can only be achieved by human hands, for humans. Looking ahead, I envision the future of design as a harmonious blend of the old and the new. We must embrace our heritage by rescuing and preserving ancestral techniques, while simultaneously updating them for contemporary times using digital technologies. This fusion allows us to honor tradition while innovating for the modern world, ensuring that design remains relevant and meaningful in an ever-evolving landscape. It's through this synthesis that we can create truly impactful and sustainable solutions that serve both present and future generations.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
SB : My most recent exhibition took place at Milan Design Week, where I showcased the innovative SwitchBag nomadic backpack. Building on the success of this venture, I am currently immersed in the development of new products. With meticulous attention to detail and a commitment to innovation, we aim to unveil our latest creations by the end of either 2024 or 2025. These future exhibitions will serve as platforms to introduce our latest designs to the world, showcasing our ongoing dedication to pushing the boundaries of creativity and functionality in design.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
SB : My architectural background serves as the foundation for my product designs, providing a framework of structure and functionality. However, my creative process is enriched by a diverse array of art and design references that I encounter in my daily life. Inspiration can strike from unexpected sources—a visit to an exhibition showcasing Cubist paintings may spark ideas for a new product, such the SwitchBag. I view inspiration as a Pandora's box, brimming with a vast array of references accumulated over the years. These references, whether consciously or unconsciously absorbed, have the potential to resurface during the design process, imbuing each creation with layers of depth and meaning. It's this amalgamation of influences and experiences that infuse my designs with a unique character and resonate with individuals on a deeper level.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
SB : My design style is deeply rooted in minimalism and geometric shapes, reflecting the languages that have shaped me throughout my career as an architect. These influences are unmistakably evident in my work, serving as guiding principles during the design process. I'm drawn to the elegance of minimalist design, with its emphasis on simplicity, clean lines, and spatial clarity. The repetition of shapes, the interplay of light and transparency, and the pursuit of geometric harmony are recurring themes in my creations. However, achieving minimalism is not without its challenges—it demands meticulous attention to detail and a relentless pursuit of refinement. Striving for cleanliness and minimalism in my designs often requires considerable effort. It entails a process of continuous editing and refinement, where every element is carefully considered and pared down to its essential form. Yet, it is this discipline of simplicity that allows the inherent beauty of the design to shine through, creating a sense of tranquility and balance that resonates with viewers.
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
SB : Residing in Lisbon, Portugal, I find myself deeply immersed in the rich cultural heritage of this vibrant country, which significantly influences my professional endeavors. Moreover, my family background has played a pivotal role in shaping my path as an artisan and designer. Unbeknownst to me initially, I later discovered that my great-grandfather was a shoemaker—a revelation that I believe instilled within me a natural affinity for the techniques and craftsmanship I employ today. Portugal boasts a longstanding tradition of artisanal craftsmanship, particularly in the realm of leather goods—a heritage that continues to inspire and inform my work. Additionally, the design landscape in Portugal is teeming with exceptional talent and creativity, yet I believe there remains untapped potential for greater international recognition. Nevertheless, I remain optimistic that this will gradually change in the years to come, as our vibrant design community continues to showcase its ingenuity and innovation on a global stage.
DI: How do you work with companies?
SB : My professional practice revolves around collaborating with both companies and private individuals on made-to-order projects and limited editions. This bespoke approach allows me to tailor each creation to the specific needs and preferences of my clients, ensuring that every piece is imbued with a sense of personalization and uniqueness. Working closely with my clients, I delve deep into their requirements and aspirations, guiding them through the creative process from conception to completion. Whether it's crafting a bespoke piece of furniture, designing a personalized accessory, or curating a limited edition collection, I strive to exceed expectations and deliver exceptional craftsmanship that resonates with each client's vision. By offering made-to-order services and limited editions, I provide an exclusive experience that goes beyond mere acquisition—it's a collaboration that results in the realization of dreams and the creation of cherished heirlooms.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
SB : In today's corporate landscape, designers play an indispensable role in driving innovation and shaping the identity of companies. It's crucial for businesses to select professionals who are not only skilled in their craft but also deeply passionate about their work. Designers who approach their projects with enthusiasm and dedication are more likely to produce impactful and transformative solutions that resonate with both internal stakeholders and external audiences. Moreover, in a rapidly evolving world, it's essential for designers to possess a keen awareness of emerging trends, technologies, and societal shifts. Those who demonstrate a proactive attitude towards staying informed and adapting to change are better equipped to anticipate and respond to the evolving needs of their clients and customers. By prioritizing professionals who embody these qualities—passion, work ethic, and adaptability—companies can harness the full potential of design as a strategic asset, driving growth, differentiation, and long-term success in an increasingly competitive marketplace. develop:: My design process does not have a specific rule or structure. I like to start with a concept or topic that I would like to talk about, I start by sketching out some ideas I have in a notebook, and I leave it aside for a few days. Then I go back to it and make them evolve. The next phase involves 3D modeling, which for me is also a research and work tool. When I reach the final result, I extract a 2D mold and make a model, first on cardboard and then a leather prototype.
DI: Can you talk a little about your design process?
SB : My design process is fluid and adaptable, devoid of rigid rules or structures. It typically begins with a concept or theme that piques my interest—an idea that I'm passionate about exploring. Armed with this inspiration, I set to work, sketching out initial concepts in a notebook. I find that stepping away from these sketches for a few days allows me to return with fresh eyes, enabling me to refine and evolve my ideas further. The next stage of my process involves transitioning from 2D sketches to 3D modeling. This serves as both a research tool and a means of bringing my ideas to life in a tangible form. Through iterative experimentation and refinement, I meticulously sculpt and refine my designs in the digital realm, honing in on the details that will ultimately define the final product. Once satisfied with the digital prototype, I proceed to extract a 2D mold, which serves as a blueprint for crafting physical models. Beginning with cardboard, I construct a rudimentary prototype to test the overall form and structure. This hands-on approach allows me to assess the design's feasibility and make any necessary adjustments before progressing to the final stage: crafting a prototype in leather. By embracing this iterative and hands-on approach, I am able to navigate the complexities of the design process with precision and creativity, ultimately bringing my vision to life in the form of tangible, meticulously crafted prototypes. By prioritizing professionals who embody these qualities—passion, work ethic, and adaptability—companies can harness the full potential of design as a strategic asset, driving growth, differentiation, and long-term success in an increasingly competitive marketplace.
DI: What are 5 of your favorite design items at home?
SB : Lighting captivates me like no other. There's something enchanting about the interplay of light and shadow, how it can transform a space, evoke emotions, and create ambiance. I'm particularly drawn to the allure of small boxes and vases—objects that serve as vessels for light, casting intricate patterns and reflections that dance across the room. Books hold a special place in my heart, not just for the stories they contain, but also for the way they interact with light. Whether it's the soft glow of a reading lamp illuminating the pages or the dramatic interplay of sunlight filtering through the pages, books have an innate ability to enhance the atmosphere of a space. And then there are old photo cameras, relics of a bygone era that exude a timeless charm. These vintage treasures not only add character to a room but also serve as reminders of the artistry and craftsmanship of yesteryears. In essence, my love for lighting extends beyond the fixtures themselves—it's about creating moments, setting moods, and infusing spaces with warmth and personality. Whether through carefully curated collections or thoughtful design choices, lighting remains a constant source of inspiration and fascination in my life.
DI: Can you describe a day in your life?
SB : A typical day in my life begins with a ritual that sets the tone for the hours ahead—a cup of black coffee to invigorate the senses and fuel my creativity. Following this, I carve out a moment for tranquility, engaging in a short meditation session and a series of yoga stretches to center myself and cultivate inner balance. With a clear mind and rejuvenated spirit, I dive into the tasks that await me. This often involves attending to urgent emails, managing orders, and nurturing relationships with customers, ensuring that their needs are met with care and attention. The heart of my day unfolds within the walls of my studio, where I immerse myself in the art of crafting leather products. From conceptualization to execution, I find joy and fulfillment in every step of the process. However, it's the moments spent meticulously sewing by hand that truly resonate with me—the rhythmic motion of the needle and thread, the tactile sensation of leather beneath my fingertips, weaving together to bring my designs to life. As the day draws to a close, I take a moment to reflect and prepare for the day ahead. With a steaming cup of tea cradled in my hands, I unwind amidst the comforting presence of my two feline companions, who offer solace and companionship in the tranquil sanctuary of the studio. And with that, I bid farewell to another day, ready to embrace the promise of tomorrow's possibilities.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
SB : There's no secret formula or magic recipe for success—at least, none that I've discovered! However, if I were to distill my own experiences into a few guiding principles, I would emphasize the importance of enjoying the journey. Creativity thrives in an atmosphere of joy and exploration, where mistakes are viewed as opportunities for growth rather than setbacks. Embrace the process wholeheartedly, unafraid to stumble and try again as many times as necessary. Let your passion be your compass, guiding you through the twists and turns of your creative endeavors. And amidst the hustle and bustle of daily life, remember to carve out moments of rest and relaxation—times when you can allow your mind to wander freely and cultivate new ideas. Ultimately, the path to success is as unique as the individual walking it. But by fostering a spirit of curiosity, resilience, and passion, you'll find yourself well-equipped to navigate the challenges and triumphs that lie ahead. So, don't be afraid to take risks, follow your heart, and above all, have fun along the way. After all, isn't that what life's all about?
DI: From your perspective, what would you say are some positives and negatives of being a designer?
SB : As a designer, one of the challenges I face is the relentless pace at which creativity is demanded. In a world driven by consumerism and capitalism, there's a constant pressure to keep up with the rapid turnover of trends and innovations. However, I've consciously chosen to swim against this current by embracing slow design—a deliberate approach that prioritizes quality over quantity, mindfulness over haste. By producing on a small scale and crafting each piece with my own hands, I create a space for reflection and intentionality in my work. This deliberate pace allows me to fully immerse myself in the creative process, from conception to execution, without sacrificing the integrity of my designs. While the journey from initial concept to final product may be laborious at times, the sense of satisfaction and fulfillment that comes from seeing my ideas take shape is immeasurable. Each finished piece is a testament to the dedication and passion poured into its creation—a tangible manifestation of my vision brought to life. In a world that often prioritizes speed and efficiency, I find solace in the slow and deliberate pace of craftsmanship. It's a reminder that true creativity cannot be rushed or commodified—it flourishes in the spaces between, where time and intention intersect to create something truly meaningful.
DI: What is your "golden rule" in design?
SB : In my design philosophy, one principle reigns supreme: to only bring into existence what is truly necessary. In a world inundated with mass-produced goods and consumerist culture, I firmly believe that the key to meaningful design lies in thoughtfulness and intentionality. Rather than adding to the noise with more of the same, I strive to create objects that are meticulously crafted and purposefully designed, with the needs and desires of the customer at the forefront of my mind. This is why I'm drawn to working on limited editions with individuals—it allows me to tailor each creation to meet a specific need or desire, ensuring that it aligns perfectly with the customer's vision. By focusing on quality over quantity, I aim to encourage a shift towards conscious consumption—a mindset where we buy fewer things, but of higher quality, durability, and longevity. In doing so, we not only reduce our environmental footprint but also cultivate a deeper appreciation for the objects we bring into our lives. Ultimately, my goal is to create objects that spark joy, serve a purpose, and stand the test of time—an ethos rooted in the belief that less is more, and that true satisfaction comes from owning fewer, but better, possessions.
DI: What skills are most important for a designer?
SB : In the realm of design, possessing the ability to think outside the box is paramount. It's about transcending conventional boundaries and embracing innovation and creativity in all its forms. Whether it's reimagining familiar concepts or venturing into uncharted territories, thinking outside the box is the key to unlocking new possibilities and pushing the boundaries of design. Adaptability is another crucial trait for designers, especially in today's rapidly evolving world. It's about being able to pivot and adjust to changing circumstances, embracing new technologies, trends, and methodologies with agility and resilience. By remaining adaptable, designers can stay ahead of the curve and continue to thrive in an ever-changing landscape. Culture plays a significant role in design, shaping our perspectives, values, and aesthetic sensibilities. A deep understanding and appreciation of diverse cultural influences enriches the creative process, infusing designs with depth, richness, and authenticity. It's about drawing inspiration from different cultures and traditions, and integrating them thoughtfully into our work to create meaningful and impactful designs. Sensitivity is essential for designers, as it enables us to empathize with our audience and understand their needs, desires, and emotions. By cultivating sensitivity, designers can create designs that resonate with people on a profound level, forging connections and eliciting meaningful responses. Attention to detail is the hallmark of great design. It's about sweating the small stuff—meticulously refining every aspect of a design to ensure cohesiveness, functionality, and aesthetic appeal. By paying attention to detail, designers can elevate their work from good to exceptional, leaving a lasting impression on users and viewers alike.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
SB : I rely heavily on Rhinoceros during the creative process to visualize objects before prototyping, and I use Photoshop for image editing. However, my primary tool is my hands. Working with hands is akin to using a complex software—when fatigued or unfocused, precision suffers. Yet, there's a fascinating aspect to it: muscle memory. Many tasks become ingrained over time, allowing for fluid execution without conscious thought. This approach fosters a meditative and mindful working environment.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
SB : I allocate specific time blocks for idea development, but occasionally, these sessions may be cut short if I'm not achieving the desired results. In such instances, I pivot to other tasks, intending to return to the design later. Yet, there are times when I become fully engrossed in the creative process, allowing ideas to flow without constraint. The approach varies depending on the phase of the project. Regardless, I emphasize dedicating designated moments each week solely to design, while also recognizing the importance of stepping away periodically to allow ideas to breathe and evolve.
DI: How long does it take to design an object from beginning to end?
SB : The duration of the design process varies significantly, often contingent upon the complexity of the object at hand. It may span several months, involving iterative cycles of design and prototyping, or be condensed into a matter of weeks, with a swift convergence on a satisfying concept.
DI: What is the most frequently asked question to you, as a designer?
SB : "What is my inspiration?" and "Why I decided to use the saddle sticth technique to hand-sew my creations?"
DI: What was your most important job experience?
SB : One of the most enriching chapters of my career unfolded during my tenure at the Portuguese footwear brand, Guava, under the mentorship of Inês Caleiro. As the brand's production manager, I had the privilege of collaborating with esteemed international designers, guiding them through the intricate process of bringing their footwear creations to life. What truly set this experience apart was the close-knit environment fostered by Inês Caleiro, who not only served as the CEO and designer but also became a cherished friend. This proximity afforded me a holistic understanding of the nuances of running a brand and navigating the entrepreneurial landscape. From customer interactions and supplier negotiations to marketing strategies and photo shoot coordination, I gained invaluable insights into the multifaceted aspects of brand management. Yet, beyond the professional growth, it was the familial atmosphere that truly distinguished Guava. The sense of camaraderie and solidarity among colleagues instilled a sense of belonging and purpose, making each day at work a joyous endeavor. It was this sense of community that fueled our passion and inspired us to wholeheartedly commit to our shared vision.
DI: Who are some of your clients?
SB : My clientele predominantly comprises European individuals and businesses. This demographic diversity offers a rich tapestry of perspectives, tastes, and preferences, enriching the creative dialogue and collaborative process. Working closely with European clients allows me to tailor my designs to resonate with their unique cultural sensibilities and lifestyle requirements, ensuring that each project reflects a deep understanding of their needs and aspirations.
DI: What type of design work do you enjoy the most and why?
SB : I find the prototyping phase particularly captivating as it marks the transition from conceptualization to tangible realization. It's a fascinating juncture where ideas, previously confined to paper or digital screens, begin to manifest into physical form. What intrigues me most is how even seasoned designers approach their creations with fresh perspectives as they take shape in the prototype stage. It's during this hands-on process that nuances, overlooked in earlier stages, come to light—whether it's refining proportions or perfecting intricate details. The tactile engagement with the object provides invaluable insights, allowing for adjustments and refinements that elevate the design to new heights. Ultimately, the prototyping phase serves as a vital bridge between imagination and actualization, offering a visceral connection that enriches the entire creative journey.
DI: What are your future plans? What is next for you?
SB : I remain committed to preserving the saddle stitch technique, which faces the risk of fading into obscurity in Portugal. Through my work, I aim to introduce new products that evoke joy and wonder in people's lives. Furthermore, I am dedicated to sharing the knowledge of the techniques I employ, ensuring that they are passed down to future generations and safeguarded from being lost to time. It is my mission to uphold tradition while simultaneously fostering innovation, thereby enriching the legacy of craftsmanship for years to come.
DI: Do you work as a team, or do you develop your designs yourself?
SB : I undertake the design of my products independently, while collaborating with fellow creatives for the development of others. I find working within a team setting particularly gratifying, as it fosters a diverse exchange of ideas and perspectives. Brainstorming sessions, in particular, are incredibly enriching, especially when facilitated with individuals from varied backgrounds. Collaborating with others allows for a synergistic blend of expertise and creativity, resulting in innovative and well-rounded design solutions.
DI: Do you have any works-in-progress being designed that you would like to talk about?
SB : I currently have several products in the pipeline awaiting design, and I've recently been chosen, for the second time, to take part in the Worth Partnership Program. This opportunity will see me embarking on the development of a product that diverges significantly from my previous work, as it delves into the realm of digital technologies and innovative materials. I'm excited to explore this new direction and eager to see how it will unfold in collaboration with the program.
DI: How can people contact you?
SB : Contact me by email : info@asaleatherwork.com or trough social media: @asaleatherwork
DI: Any other things you would like to cover that have not been covered in these questions?
SB : I just want to thank my family and friends for their support, without whom this award would not have been possible.Thank you!