1.First of all, how did you become a strap designer? It is not a very common job, is it?

My road to becoming a strap designer is a long journey of transitions leading up to it, so please bear with me. Indeed, designing watch straps is a very uncommon job, in fact, it is also probably the loneliest job in the world, but I mean that in a good way. I was born and raised in Germany and have been an artist since I can remember – being an only child likely had something to do with it. Early on in school, my attention was short and I remember drifting to in my head most of the time, because I was bored, restless and couldn’t concentrate on school work. Instead, I would doodle images with pencil on paper, which gave me an escape from the structured and torturous school setting. I didn’t have many friends and always preferred being alone, drawing or fidgeting with my toys, die-cast cars, tanks, model trains and building plastic model battleships by Revell (ironically, the founder of Revell, Lewis H. Glaser was from Venice, California, where I moved to in 1984). My father, Ferenc Aszodi, was a trumpet player from Budapest, came to Germany in ’56 and was on the road most of the time, touring Europe with the Max Greger Orchestra and Ernst Mosch Egerlaender. He had a deep passion for travel photography, cameras, watches and things that were precision made. At the time, the best products were made in West-Germany and Switzerland. This was the introduction for me to cameras, optics and watches, which have always stayed with me and were part of my professional career(s) to this day.

In 1976, I was introduced to skateboarding, which carried me throughout my years as a teenager, until I graduated from high school. I remember coming across SKATEBOARDER MAGAZINE, a California publication with incredibly stunning and vibrant photos of California, blue skies, palm trees, skateboarders with long hair, skateparks, surfers, the Pacific Ocean…SKATEBOARDER MAGAZINE was the spark that opened the flood gates for me. Soon, I became known as the trouble making kid in Baden-Baden with that loud new toy thing but I didn’t care too much, in fact, all I wanted to do was skate, read Skateboarder magazine, work on my skateboards, become competitive and dream of living in California one day! At the age of 15 (1979), I traveled to Los Angeles for 4 weeks to visit and skate all the skateparks that I was so mesmerized by in the magazine. It was a dream come true for me and I knew I would live here one day. After graduating highschool and serving my civil duty, I moved to Venice, California in 1984. I had stopped skating and wanted to be in showbiz. During my time at the Lee Strasberg Institute for Acting, I started pursuing work as an actor and made a little money, doing TV commercials and as a photographer – photographing other actors, of course. I was also painting oils, which I became very passionate about and started selling some of my paintings. By 1989, I had fully transitioned to painting and working as a freelance photographer. I also started collecting fine wrist watches and cameras and became very passionate about it. Moving forward, my emphasis shifted to photography and I opened a photo studio in Hollywood in 1994, catering to the entertainment industry and photojournalistic weddings and events. In 1999, I decided to work from home as most of my work was on location, and closed my studio. By that time the internet was the dominant platform to communicate and became an incredible tool for new things to do…and discover!

I looked up skateboarders that I met and idolized as a kid, and found several people that I knew and were still skating, competitively, which led to me getting re-involved with skateboarding. Within a year, I was downhill slalom racing competitively and designing slalom skateboards for Gordon & Smith / Fibreflex skateboards in San Diego, which was the company that produced my favorite skateboards when I was a kid. Fibreflex skateboards, when introduced in the early 70’s were different than any others, in that they are very thin in profile and constructed of 3-5 plywood laminate and sandwiched between two thin layers of BOTUFF, which is a type of fiberglass used in archery bows. What I loved about Fibreflex skateboards were their beautifully finished ultra-thin edges that had a lacker on them which gave them a very refined and elegant appeal. They reminded me of fine wooden musical instruments. In addition, these thin wood laminated fiberglass boards were flexible with great energy response which allowed you to generate speed without even
touching the ground with your feet. They had a life of their own and nothing has changed to this day, almost 5 decades later. The finishing of these edges were the inspiration to incorporate finely refined and thin edges to all of my watch straps. Like the Fibreflex skateboards, the feel of the edges of my straps is very similar and smooth when running you fingers across them. My signature model, the FIBREFLEX ATTILA ASZODI RESPONSE, became a bestseller world wide and was featured in Wired magazine in 2002, which helped open the gates to the resurgence of slalom skateboarding in 2000. The particular shape of the FIBREFLEX RESPONSE was also the inspiration that I would later incorporate into my strap designs, particularly the RAPTOR and some variations fo the BUND. From 2000-2007 I enjoyed downhill racing, teaming up with the best skateboarders in the world, still photographing events (because there was little or no
money in skateboarding), and became the photo editor for Concrete Wave magazine for a brief period of time. I was living the dream that I had always envisioned as a kid.

Unfortunately, my long history of injuries over the past three decades forced me to quit competitive racing. In addition, it also became increasingly difficult finding work as a freelance photographer as digital photography had taken over and everybody started undercutting rates and prices or work for next to nothing. I had to switch gears entirely and decided to look for full time employment as a photographer. At the time (2007), I was frequenting a watch forum called TIMEZONE where I would buy and sell vintage watches. I spent a lot of time there and came across an announcement/ post at the top of the page: “Looking to hire: We are one of the most established vintage watch dealers in the world and are looking to hire a photographer who is passionate about watches and knowledgeable about the watch industry. This is a full time position. Please contact us if you feel that you meet these requirements.”, or something like that. Timing couldn’t have been more perfect I thought and I immediately followed up on it. 6 weeks passed when I received a phone call from the company, as a follow-up to my inquiry. I quickly put a portfolio together with some of my watch photography and met with the owner a few days later. This was my first full-time job interview ever and I was hired on the spot. The following week I started working and put photo studio together, with camera tethered to a computer. My job over the next 7 -1/2 years was to photograph the most expensive and rarest of the vintage watches from all angles, identify the movements and serial numbers, document everything and run the website and Ebay listings with full description. I became completely immersed in this world and learned everything that I know about vintage watches today. Part of my job was to remove the leather straps first, after trying on each spectacular watch first, of course!

In time I realized that most straps were of poor quality, not comfortable and really had no place being on a $50,000 watch, even OEM straps. One day I came across a watch on a strap made of Horween Shell Cordovan, which was the first time I was really impressed with and thought: this is how a strap should be, exquisitely comfortable, a beautiful vintage
appeal like an old saddle, and a wonderful leather aroma. It was like comparing foie-gras to pork liver pâté. I reached out to Horween but didn’t know how difficult it would be to get a response, which made me want to work with this tannery and elusive leather even more. In 2008, I found a listing on Ebay with 20 small hides (1-2 sq feet) of
genuine Horween Shell Cordovan for sale at $95, and I hit the “Buy it now” button. I had no idea what I was going to do with them but I knew one day I’ll make something. I was also collecting high-end custom folding knives and realized that these knives didn’t come with a sheath – the ones available online were of poor quality and not well made; more of an afterthought than a a quality accessory. So I figured that I should use the Shell Cordovan and started making my
first sheaths later that year. That was how I started working with leather. I had no experience with leather work and only had a handful of tools, but I had a strong sense of design and vision of what the sheaths should look like. Right from the beginning, I wanted to create presentation sheaths that would complement the design of each knife, as well as protecting them while carrying. These original sheaths, made of Shell Cordovan, were my introduction into the niche custom leather market and out of the 100 or so that I had made, I only sold one!

Still, I learned much during this process and early in 2009, I purchased a Rolex Submariner from the company that I worked for, at the right price of course. I didn’t like wearing the Submariner with the bracelet and knew it had to be
on a strap, but I would have to make it and it had to be different. My first idea was to make a BUND style for it – it is a military cuff-style strap, which I had always liked for its style and function. These Bund straps were issued to the German Bundeswehr, the German military. I didn’t wear them because these particular military ones were very uncomfortable on the wrist, the leather was cheap, the edges would cut into the wrist, the contours were too abrupt wand the straps were extremely stiff – of course, these were intended to protect the watch and the wrist and were issued military straps, which were intended as reliable accessory and not a fashion statement for a luxury watch, still, they were super cool and unique. The design and idea of the BUND was brilliant, the execution was poor. It opened the door for me to make my first strap, a BUND for my Rolex Submariner, in Shell Cordovan of course! Not only was this the perfect opportunity to make this design in this particular leather, which had never been done before. It also gave me enough room to create a different variation of the design which I modified to have a softer, less angular appearance. Most importantly, it would be the first time that a BUND was made in Shell Cordovan and marketed directly to owners of a high-end luxury tool watch, such as a Submariner or Daytona, in steel or 18k gold. Shortly after I made my first BUND in black Shell Cordovan for my Submariner. It was rough in overall execution and improvised to the best of my ability, but it was exquisitely comfortable. The only thing that was detailed, were the edges which were burnished and would not cut into the wrist. They had to be smooth and slick like the edges on a Fibreflex skateboard deck. I was very happy with this accomplishment and could now wear and officially own my Rolex Submariner. When I showed up at work the next day, my co-workers and boss took notice and asked me where I got the strap, “it’s very cool”, was the response. After I told them that I made it, everybody was very surprised and intrigued, even though the strap was very un refined and rough, but it was cool on that Submariner, which they had never seen on such a strap. By the end of the day I had a total of 15 orders for Shell Cordovan Bund straps, including 13 from my boss, as a gesture of appreciation for my craft, WOW!

Two weeks later, the straps were done, one worse than the other, but they had the same DNA and looked authentic and handmade. I didn’t have a logo or makers mark stamp and quickly signed the back of each strap with a round stylus tool with my initials “AA”, which would also become my official logo. My boss received them with a smile, mounted his Rolex 1655 Steve McQueen on one of the Bunds, took a photo and submitted it to HODINKEE, which had recently been founded as this new watch enthusiasts online platform. It was the first time, that a sports Rolex was featured and published on a Shell Cordovan Bund – I didn’t know who HODINKEE was and what they would become within a few years, but I was extremely proud. Moving forward my work days went from 9 a.m. to 5 p.m. to 3.30 a.m. to 10 p.m., seven days a week. I put a little studio together at home and would start early in the morning, before everybody got up so I could concentrate and work on leather, before leaving for my actual job. I was completely immersed with this new found passion and hooked; everything happened organically. I didn’t even ask myself if I wanted to pursue this or not, I just did…I was making straps!

2. You work with exotic skins as well. Are there any difficulties with them?

Each type skin or leather bring its own unique characteristics and challenges. Since a watch strap is a small accessory and specifically made to complement a watch, as well as provide a certain level of comfort and enhance the wrist appearance, each type of leather has to be tested and evaluated carefully before making a strap. The most important tangible aspect is how the leather feels, how much it stretches and how thin it can be made, since each strap is constructed with several layers, top veneer, reinforcement, filler and lining. On average, a custom classic strap will be about 2.0 mm in total thickness. Each leather has to be skived (thinned) accordingly to their limit, without compromising strength and rigidity and each type of leather is unique in this regard. With exotics, such as alligator, lizard, ostrich leg, the complexities vary; alligator, which is the most popular and luxurious, is the most difficult to work with. It usually more fleshy on the bottom (compared to lizard and ostrich leg), which has to be thinned to the point where the top scales and grooves almost break through to the top surface. This can be a very lengthy and delicate process and has to be done by hand, which takes time. The next challenge is to find an area of the skin, usually the belly, that can be cut in a matching pair so that the scales line up perfectly when each part of the strap is placed next to each other. Of course these parts have to be flawless, which is  usually only found in the much more expensive farm raised American alligator skins. A good strap made from a pristine alligator skin will have these characteristics and will add symmetry and an elevate the aesthetic sense of perception to finished product. It will elevate the watch to another level! Extra care needs to be applied throughout the process, since the skins used for a watch strap are usually on the smaller side; the sections from the belly with square scales will generally be enough for only 1-2 straps and don’t allow any room for error. It does happen on occasion, that the cut is miscalculated or a stain suddenly appears, meaning that there may not be enough left to make another strap. Best case scenario in such a situation is to order another skin and eat the cost; worst case scenario is to let the excited customer know that the skin got damaged and I can’t get anymore of that color and issue a refund.

3. You work with leathers. However, as an expert what is your opinion of metal straps?

I like metal bracelets for certain watches in certain situations. Rolex, which is the primary brand I get requests for, is optimized for bracelets, which are the most iconic, best finished and comfortable bracelets, period. Many Rolex watches are recognized by just looking at the bracelet, without even seeing the watch. I like making straps for Rolex watches because it allows me to create a new and unexpected fresh new look to the watch in a unique and personalized way. The end result is similar to a tailored suit or bespoke shoes. Some other brands will use a quality generic steel bracelet with their logo on it, which many times makes the watch look cheaper rather than lifting its appeal. On the flip side, some watches are made and optimized for leather straps, which adds an air of luxury and sophistication, such as Patek Philippe, Breguet, Vacheron Constantin, A. Lange & Söhne and a few others. It boils down to personal preference. In practical terms, a bracelet can be worn in the water, a leather strap cannot. Bracelets are cooler to the skin in the winter, whereas a leather strap has a warmer and more organic feel. Reversely, a bracelet is more forgiving in the summer due to heat, sweat and humidity, whereas a leather strap tends to stick more to the wrist. In those situations I use a synthetic lining made of vulcanized leather or polyurethane.

4. Which are your favorite watch brands and why?

Rolex, Patek Philippe, A. Lange & Söhne, Vacheron Constantin, Cartier, Seiko. Rolex and Seiko are the only two most vertically integrated watch companies in the world, in other words, every component is manufactured in house by their respective brand. Also, no other watch company has had such an impact and extensive history as Rolex. Rolex has always been associated with quality and durability, which holds true even more so today. It is the most imitated and copied watch in the world which is a testament to their success and following. A Rolex holds its value, and can be considered as liquid currency anywhere in the world, everybody speaks and understands Rolex. Many Rolex, especially their sports models, increase almost immediately in value upon their release, which makes them fantastic investments. Seiko has had a colorful and strong history with their dive watches, in particular. They are affordable, extremely well built and reliable. And they look very cool, with some of their vintage models being considered iconic, to the point where certain original pieces fetch top dollar in the thousands. Patek Philippe is….well, Patek. It shares a similar history with Rolex, in that every model created throughout their monumental history has become an iconic watch and collectible. Same holds true to the value of a Patek, which always increases and therefor can be considered a sound investment for a knowledgeable collector. Furthermore, Patek is recognized for their uncompromising craftsmanship and complicated movements, which includes of minute repeaters and grand complications, including perpetual calendars with minute repeater and chronograph. No other brand is associated more with haute horological, luxury and craftsmanship than Patek Philippe. Also, ironically, Patek is the only brand in the world where a vintage watch made in stainless steel is worth multiple times more than the same model in gold or platinum, why? Because Patek Philippe considered steel as an inferior material to gold and platinum, and made very few examples in stainless steel. I recently had the honor of being associated with such a timepiece; a Patek Philippe Calatravone Ref 570, in stainless steel in an oversized 37mm case, from 1942, in pristine condition. This watch was sold at auction at Phillips Auctions in Geneva in May, 2021, on one of my straps. The reference 570 is always a very sought after watch, but usually found in yellow or rose gold, and in a smaller case. Even those can fetch more than $50,000, depending on condition. The one that recently sold at auction had a pre-sale estimate of a whopping $400,000, due to its rarity and condition. Well, the day came and the highly anticipated watch came up for sale and ended up selling for $3.2M, setting a new world record for a “time only” steel watch from Patek Philippe. For me, of course, the icing on the cake was that this watch was featured and sold on a custom strap of mine, made of pebbled vintage calf skin, not alligator. Wonder how much it would have sold for an alligator strap!

Similar to Patek Philippe, A. Lange & Söhne, the German brand from Glashütte is recognized for their craftsmanship and movements, in fact, Lange has as strong of a following and collectors base as Patek Philippe. Simply incredible and beautiful timepieces that hold their value over time, with stunning designs that are immediately recognized and embraced by collectors. Vacheron Constantin, another very important and significant brand is the oldest horological house in the world. It is always associated with ultimate luxury, breathtaking designs and sophistication, uncompromised quality and strong historic relevance. Cartier is…well, Cartier. Similar to Patek Philippe, Cartier has created some of the most iconic time pieces over the past century that have equal status and prestige as the before-mentioned. Many designs originated with Cartier, such as the their dials with Roman numerals, the rectangular Tank watches and also their Asymétrique pieces. The level of craftsmanship and finishing, particularly in gold and platinum is considered by many, including men and women, as the ultimate in luxury that money can buy. Cartier is a  brand that has never gone out of style and never will. Each one of the brands mentioned above represents a milestone in horological history and design – they represent the collective birthplace of the wrist watch as we know it today.

5. Are there any rules about matching straps with watches?

Yes, the single most important aspect of creating a strap for a watch is to tie it into the theme, shape and colors of the watch and dial. The finished strap has to appear as if it came with the watch when originally purchased. It has to be a natural extension to the watch and tie into the dial and certain accents/colors of the watch. That’s where detailing and creative interpretation come in. Many clients give me carte blanche when it comes to creating something for a specific watch, but since the cost and labor can be very high, I usually ask for certain things beforehand to get an idea of what the client’s preferences are. For instance what color do they prefer, type of leather; exotic or calf/suede, style; classic or cuff style, is it for casual wear with jeans or does it need to be dressed up for a business or evening look, isn’t a vintage watch? The questions are very simply and easy to relate to. I also ask my clients to go through my Instagram and take screenshots of my work they like and send them to me. In addition I ask for photos of the watch and sometimes a
wrist shot with the watch. All of this done is communicated via email or WhatsApp since I work alone in a very private setting. Once I have all these bits of information, I can then propose several suggestions that I think would work well with a particular watch and the lifestyle of the customer. Since I am watch collector at heart and have owned hundreds of similar high end watches over the years, it is relatively easy for me to envision certain designs and detailing around a specific watch and come up with enticing and attractive ideas.

Once the client and I and are getting acquainted through this process of dialogue, I know that the client is serious to move forward and committed to commissioning me for this special project, which can be very costly and time involved, depending on the type of strap we agree on. Of course it is important to know if there are budget limits, which will determine the kind of strap or leather I will recommend. Once agreed upon a certain project, I will work on a $500.00  strap with the same amount of detailing, precision and passion as I would on a $7500.00 strap. In fact, each strap I make is made as if it were for myself. I always ask myself throughout the process, what would I do if this was my watch and strap. Sometimes, I will have an idea during the process, which might be different from the initial notes and dialogue, but if I think it will benefit the strap and elevate the finished project, I will reach out to my customer and share my idea, before proceeding of course. One thing to keep in mind is that, no matter how extensive, crazy or colorful a strap might be, it can never upstage the actual watch and draw more attention than the watch. It’s only purpose is to complement the watch and tie into the watch naturally and organically, even with an art piece. The finished ensemble has to look as if they shared the same DNA. With other clients, I will get very specific order details, a script, so to speak, which makes it easier for me follow. And sometimes I will have the watch on hand for the duration of creating a strap with the instruction to do whatever I think will make this particular ensemble look out of this world. My personal philosophy is that “ The Strap Makes The Watch”, the right bespoke strap is the official step towards true ownership of the watch, because you created something that is very specific to the watch. Reversely, a poorly made strap that does not complement the watch and is uncomfortable, will separate you and the watch. You will never experience the full potential and pleasure of what a nice timepiece can give you. By being able to wear your watch on a custom creation close to you heart, emotionally and physically, you have completed a perfect circle, something that both you and the artist have been an intimate part of…its everything!

Contacts: Instagram: @attilaaszodi, E-mail: info@attilacustomdesigns.com
Photos: Attila Aszodi Designs, portrait: Jason Sean Weiss
16th of June, 2021