Use the navigation arrows by hovering over the image to see more leather artists. Simply swipe to the left if on a mobile device.
As an artist my work allows me to reflect my personal experiences and observations, while translating my ideas into flexible concepts for functional fashion. The majority of my work is geared towards on the go "streetwear" and luxury leather craft in the urban boutique movement. Through my design and development I’m able to experiment with the universal language of style by visually communicating concrete ideas and concepts for showcasing modern city styles in certain social structures. Exploring ideas as well as evolving and adapting is the fabric of fashion and the ability to be able to translate it in my own language is what drives my motivation in accessories.
Rob and Barbara Mathews
We hand make custom shoes, boots, and bags. Each piece is unique, made for the individual client, and fashioned from a wide array of the finest leathers from around the world including calf, kid, kid suede, buffalo, alligator, ostrich, and stingray. We strive to blend form and function, art and craft in surprising ways to offer beautiful, creative solutions to every design challenge. Leather's rich textures and vibrant colors convey the inspiration and excitement in our work.
Toshiki Fukushima & Maryszka Osaki
We create limited edition and one of a kind natural shearling and lambskin garments, working together as a team for 35 years. Our construction, stitchwork and tailoring of pieces are classic styling with a twist, made to measure, constantly seeking to push our limits. Our pieces stay in a persons wardrobe as a wearable, functional piece of art for a lifetime. That is sustainability, and what drives our design, our lifestyle, and our mission.
In my crafts, I infuse my knowledge of engineering in an inexact science like leather to create simple but very user-friendly and functional designs which are made to last a long time. I put a great deal of effort in executing the details in creating my collections, such as: a) the "12:00-to-6:00" saddle stitching wherein I use polyester thread and a four times undersized needle for strength and durability; b) the "almost at the edge" narrow binding for a sharp and clean look; c) the inside lamination and leather lining that is fused to the main leather; d) for the handwoven, the old and traditional way (from bottom to top) of handweaving to create a seamless finish and the hand-cutting, edge-thinning, edge-dyeing, and/or folding of every single strip for a tight and squared weave; e) the simple but very efficient closure designs; and f) the hand-finishing which may be tedious but brings out the natural patina of leather.
As I imagine designs, select colors, and begin cutting the leather that forms a cowboy boot, I’m constrained by the requirements of function, guided by my 26 years of experience, and influenced by the history and traditions of the craft of cowboy boot making. My work is characterized by intricate inlay and overlay--delicate shapes cut into the leather, and held in place with stitching done on an old single-needle Singer sewing machine. Using vintage tools, I stretch, shape, and mold the leather parts and pieces to build a beautiful, functional piece of art. With each process I hear whispers from the past—soft messages of heritage and strict apprenticeships. But I also follow the seductive song of the future, as I pursue and create relevance for today. Each pair of boots reveals a quest for meaning in an ever-changing reality; I create objects of beauty and function that reflect a moment in time.