Interview with Patricia Sáinz of P A T Studio

Amid the curated elegance of Premiere Classe, Patricia Sáinz Martín—founder of PAT Studio, a handbag brand known for its sculptural refinement—presents a body of work that is sensory, deliberate, and timeless.

Her presence captures the essence of the salon: where detail becomes language and craftsmanship speaks volumes.

 

The cradle of creation

What did your childhood smell like? Leather, paint, perfume?

It smelled like the shop. My mother’s—multi-brand, open for over forty years. That’s where I grew up. By sixteen, I was already working there. That world shaped me long before I became aware of it.

 

Do you remember the very first object you ever made?

Yes. Fabric brooches I sold in the shop while still in school. I created them for the joy of it, without ambition. But that’s when I realised: an object can carry a message. It can speak—without saying a word.

Fashion historical

Bio step by step

 

1-Degree in History

2-Master’s in Fashion Communication

3-Ten years as a freelance fashion journalist

4-Madrid, London, Brighton, Rome

5-At 30: turning point — the urgent need to create with my hands

6-Artisan training in Italy: leather, cutting, sewing

7-Launch of PAT Studio

8-Objective: to design an object from beginning to end

What was the turning point before PAT Studio?

At 28, I won a national design competition for emerging creators shortly after leaving my job at a magazine. I had presented a collection inspired by Elsa Schiaparelli and her surrealist universe. This led to exhibiting in Paris, selling the entire collection to a boutique in Kuwait, and being invited to Who's Next. It was a pivotal moment—I then took the time to learn and explore how to transform this initial breakthrough into a genuine brand venture.

Why did you start your own brand?

I had always wanted to build something of my own. After ten years of freelancing—saturated with screens and disembodied concepts—I craved substance. In Rome, I discovered Italian craftsmanship: leather, the gestures, the presence of the hand. It changed everything. I knew then that this was what I wanted—to create, tangibly.

Finding a voice

If your aesthetic could speak?

It would speak truthfully, clearly, transparently. At PAT, every detail has intention. Even the mirror inside the bag—bronze-tinted for warm complexions, silver for cool ones. Nothing is left to chance.


How does a collection begin?

Always with a shape, a sensation—sometimes an obsession. The last one was inspired by 1940s vanity cases—the kind used on long train journeys. I discovered them at an exhibition in Italy. I wanted to reinterpret their nostalgia and function, but in my own way.

Design or visual poetry

 What emotion do you aim to evoke?

What the object awakens when touched. The temperature of the leather, its suppleness, its scent. My work is sensory. Almost instinctive.

 

Do you see your work as fashion or art?

Fashion. These are accessories, yes—but to me, they are fragments of narrative. Wearable stories. Objects that carry memory.


Who are your artistic affinities?

César, for his crushed metal sculptures. Jean Arp, for his fluid, almost liquid shapes. Both influence my work—you can see it in the clasps of my bags. I’m also drawn to the world of Alfred Hitchcock: its visual tension, its elegance. And above all, its women—mysterious, poised, impeccably styled. Like Grace Kelly.

Tactile luxury

 Symmetry or asymmetry?

Neither. I prefer contrast. That luminous tension—like two complementary colours enhancing one another.

 

What’s your definition of contemporary luxury?

Small, independent brands. The ones that take risks. That express a clear vision. That choose their materials with absolute care. True luxury lies in integrity.

 

And your definition of quality?

My bags are made in Cádiz, Spain—with the precision of heritage houses. I would never sell an object I’m not proud of. Otherwise, I’d feel I was betraying what I stand for.

Quickfire quiz

P.A.T or Not PAT ?

Sculptural accessories? → PAT

Spontaneity in design? → PAT

Making noise just to be seen? → NOT PAT

Wearing leather in high summer? → PAT

Breaking symmetry’s rules? → PAT

Luxury as silence, not sparkle? → NOT PAT

Fashion at full speed? → NOT PAT

Creating just to follow trends? → PAT—just enough to stay in rhythm with the times

Chunky jewellery at 9 a.m.? → PAT

Black, all year round? → PAT

Functionless micro-bags? → NOT PAT

Gloves as accessories—not for warmth? → PAT

Crocs to a gallery opening? → PAT

Transparent materials in winter? → PAT

Dressing to reflect your mood? → PAT

Wearing your own designs to a date? → PAT

Studio notes, backstage view

What was your first Premiere Classe experience like?

It was both surprising and grounding. I didn’t know a soul, yet I felt a quiet sense of belonging—like I’d found my place. There was a distinctive energy: warm, almost familial. I met other designers in their early stages too—sincere, generous encounters, free from competition, in a space where everyone respects each other’s path. Premiere Classe offered something rare: a place where you feel listened to, understood, supported.

Why return this year?

Because the atmosphere—both warm and professional—left a deep impression on me. It’s a space where you can share doubts, ideas, and find genuine resonance with other creatives. I felt truly supported, heard, understood in my approach. People grasped what I’m trying to build with my brand, and offered guidance that was both thoughtful and generous.

 

This year, I’m returning with my very first jewellery collection—a deeply personal project inspired by the movement of water and the idea of transformation. Premiere Classe is the perfect place to unveil it: here, individuality is valued, stories are listened to, and meaningful connections happen naturally.

Bonus track

 What’s the strangest—but most memorable—comment you’ve received?

A museum curator once said to me: “Your bags are wearable sculptures.” That moved me deeply. I later exhibited my work in his gallery—it was a turning point.

 

What’s the most ‘anti-fashion’ thing you do?

I sculpt. I shape material. Not to mass produce, but to explore. To feed the imagination.

 

How do you experience time?

With frustration, sometimes. I feel slow. I wish I could create more. But I’m learning to honour the rhythm. Being creative also means listening to yourself.

 

Do you always finish what you start?

No. If the idea has faded, I prefer to pause or go back. What matters is that the piece still carries the intuition of its beginning. 

At Première Classe 2025, PAT Studio invites you to rediscover tactility, memory, and design as language. Prepare your senses.

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