Today we’d like to introduce you to Takeshi Yonezawa

Hi Takeshi, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?

Reflecting on my journey with leather, my first encounter dates back to elementary school in Japan, where my baseball glove and spikes were crafted from leather. Later, during a part-time job at a Native American jewelry shop in high school, I was introduced to other types of leather, such as deer and elk. My parents really encouraged hard work and creativity; my father, a retired auto body shop owner, would craft various things growing up, including a batting cage and my mother loves to draw and is a retired nurse. The early exposure to leather combined with an environment that encouraged creativity laid the foundation for my passion to create with leather, long before I ever began studying leathercraft.

The catalyst for me to start leathercraft came when, as an aspiring 20-year old musician and part-time swim instructor in Tokyo, I couldn’t find a a carved leather wallet I liked so I decided to make my own. Eager to learn, I searched for nearby leather classes, signed up for one, but quit after two sessions because it seemed that carving was extremely simple: cut with a swivel knife and stamp out. I did not think it was necessary to keep going to class, but I was hooked on carving leather. I would practice any chance I could – late at night at home (I would get noise complaints from neighbors) and during breaks at the pool. My locker held my swimsuits, an electric guitar, an ukulele, and my carving tools. Looking back, I smile because it was all about enjoying the challenge and having fun. Today, I have a fully equipped workshop at home with multiple workbenches, but back then, I made do with a makeshift setup in my apartment. I used a piece of plywood on top of my desk chair as a workbench, and every time I stamped, the plywood would bounce. I am more selective and intentional with my tools now, but at the time, I worked with a simple wooden mallet and stamps that cost just about 300 Japanese yen (about $2) each.

Since then, I’ve studied under different craftsmen and have also begun teaching at leather shows and private lessons. I’ve also expanded from making bags, wallets, and belts into more structural art pieces. While I still enjoy making personal items/accessories, I am passionate about creating and challenging myself to see how far I can go with leather.

We all face challenges, but looking back would you describe it as a relatively smooth road?

One of my main challenges is time management; I struggle balancing what I want to do with what I must do. Moving to the U.S. and getting married were big life events, but the birth of my son transformed my life even more, as now everything, including my legacy, is about him.

Although I often come up with many new ideas, I find myself without enough time to test them. I’m constantly figuring out how to maximize my time between family and work.

Alright, so let’s switch gears a bit and talk business. What should we know about your work?

My work involves using leather to create everyday items or to recreate things from the natural world. I specialize in tooling, fine assembly, and sculpture. When making items like wallets or bags, I start by closely studying and understanding the material I am using. I analyze the direction of the fibers and the hardness of the leather, and then cut out the pieces that match the parts of the product. After that, I move on to adjusting the thickness and performing other detail work. I spend the most time on preparation; I obsess the details and steps before construction because I know how the early steps impact the final result.

For artwork, before I even touch the leather, I do a lot of research on the object I want to recreate. From there, I challenge myself to see how authentically I can make the replica using the knowledge and skills I’ve acquired. For example, for “Determination”—a life-size sculpture of a red-tailed hawk constructed entirely from leather—I devoted over 2,000 hours to the project, many of which were spent on multiple visits to the Portland Audubon, raptor centers and museums to learn about birds of prey. I also enrolled in multiple raptor wood-carving classes in Vermont and did info sessions with raptor experts. The project was a success because I understood the reasoning and functionality behind every detail of a real hawk. For me, the research and trialing phase is exciting and addictive.

I believe that obsession to detail and passion to go deeper/further than others are what set me apart from others. I take the extra time to ensure authenticity, quality, and functionality which often lead to innovative techniques and fine craftsmanship.

What would you say have been one of the most important lessons you’ve learned?

The last band I was in had a professional drummer and bassist. During that time, I painfully realized that they were far more advanced than me and that I was too far behind to be able to make it as a professional musician. After that epiphany, I decided to stop pursuing music professionally. While it was very disappointing and disheartening, I knew I made the right choice.

The lesson I learned from that experience is that if I had developed a more solid foundation of skills and knowledge about music, songwriting, the industry, etc. I would have had a deeper relationship with music.

Determined not to make the same mistake with leathercraft, I work hard to master my skills. I am incessantly curious and I find joy in learning new things. Thankfully leatherwork, like music, is a craft without an end, so I can continue to evolve and grow on this journey.

Contact Info:

• Website: https://www.yonezawaleather.com
• Instagram: https://www.instagram.com/yonezawaleather
• Facebook: https://www.facebook.com/yonezawaleather

Image Credits

Katy Weaver, Paul Wegman, Sam Ortega