Fabien Cappello Conversation

Last month, we were thrilled to welcome Fabien Cappello to Pan After. We hosted a small gathering where we listened to a conversation between Fabien and Tristan Ceddia from TRiC Studio.  It was an insightful discussion, delving into Fabien’s unique approach to his work, and a privilege to host the evening. 

The intersection of design and art often raises questions about purpose, process, and creativity. For Fabien Cappello, a French-born Mexico-based industrial designer, this space is where function and expression coexist. And it is particularly prevalent in his presentation of ‘Objetos de Hojalata’. Through his work, Cappello challenges conventions in production and reimagines the role of traditional craft within contemporary design. 


Born in France, Cappello studied industrial design in London, where he immersed himself in the city’s dynamic design scene for eight years. By 2015, however, the challenges of living in a dense, expensive, and saturated city led him to seek new opportunities. A teaching exchange in Guadalajara, Mexico, became a turning point, offering him a fresh perspective and the chance to engage deeply with the country’s rich craft traditions.

What began as a semester-long exchange evolved into a significant chapter in Cappello’s career. He collaborated with artisans in Mexico City, uncovering the potential of overlooked techniques and local materials. This experience transformed his design philosophy, placing cultural and material value at the forefront of his work and in 2020, Cappello returned to Guadalajara after a stint in Mexico City, marking the continuation of his exploration into craft and industrial design in a region steeped in artisanal heritage.



Fabien’s recent exhibition at Villa Noailles revealed a transformation of the significant cultural venue in France, showcasing the transformative power of colour that is central to Cappello’s broader design philosophy. “If you paint a room yellow, it becomes the Yellow Room,” he observes, underscoring how colour defines space and perception. This belief informs his use of colour as a provocative tool, one that questions conventions on what is deemed tasteful and luxurious within many cultures and invites reflection. Why not have a yellow sofa? What cultural or material values do we attach to specific colours?

Cappello’s use of colour extends to patterns, which he sees as functional elements of his design strategy. Whether through a bold fabric or a vibrant wall, he challenges minimalist norms by embracing complexity and richness, offering a refreshing perspective on how colour can be both functional and expressive.

One of Cappello’s most fascinating explorations is his work with hojalata tin objects, which straddle the line between craft and industry. This medium, though historically significant, has never been regarded as high craft in Mexico. Unlike claywork, which is celebrated in major museums such as Mexico City’s Artesanías Nacionales collection or the Indigenous Craft collections, tinwork is notably absent from these cultural institutions.

“Hojalata has always been an urban reality,” Cappello explains. It arrived in Mexico during the colonial period, introduced by the Spaniards, and was quickly embraced by Mexican artisans who excelled in working with metals. While indigenous communities were renowned for their mastery of gold and soft metals, tinwork became a unique craft in its own right, blending European techniques with local ingenuity.

Yet, despite its historical importance, hojalata lacks the prestige of other traditional Mexican crafts. Cappello sees this as an opportunity rather than a limitation. By working with tin, he highlights its potential as a medium for contemporary design while preserving its roots in Mexico’s urban workshops. Unlike claywork or weaving, which often require extensive tools or ancestral knowledge, tinwork is a simple, repeatable process—a characteristic that aligns closely with industrial design principles.

Through his practice, Cappello collaborates with local workshops, many of which are run by aging artisans. His goal is not only to elevate hojalata but also to ensure its survival in a rapidly changing economic and cultural landscape. The result is a body of work that bridges traditional craftsmanship with modern design sensibilities, positioning tin objects as both functional and culturally resonant.


Cappello’s approach is defined by constraints from clients, materials, or production realities. Unlike art, which he sees as free from external demands, design requires adaptability. This fuels his creativity, enabling him to create objects that balance functionality with cultural and material depth. The designer’s exploration of tinwork is just one example of how he brings overlooked materials and techniques into the spotlight. Collaborating with artisans in Guadalajara, he creates objects that reflect the socio-economic and cultural value of their origins while pushing the boundaries of what craft can achieve in a contemporary context.

From his explorations of tinwork to his provocative use of colour, he challenges conventional design narratives while celebrating the overlooked and undervalued. In an increasingly homogenised world, Cappello’s approach reminds us of the richness that comes from embracing complexity, questioning norms, and celebrating the overlooked.

 Fabien Capello’s Objetos de Hojalata are available at Pan After – explore the collection here.