Words by @gianni_zattoni
“I met and skated with Diego a few times because we were on the Reef team together in the late ’90s and early 2000s.
I always look back on those moments fondly. A true pioneer of the ‘big gap’.
I see him on Instagram and I’m glad he’s still very active in the skateboarding world.”
Hi Diego, how’s it going?
All good here, thanks.
Let’s start with your first memory related to skateboarding.
I was around 9 years old, my family and I went shopping and on our way there, we saw that some event was happening at the University of Buenos Aires. My Dad stopped and we all went to see what was going on. I was in a super weird situation, super loud music, ramps with crazy graffitis, and lots of kids riding skateboards. Then one guy magically went up a platform and that was it!!! That right there changed my life forever. I wanted to do that!! One year after, I got my first skateboard for my 10th birthday.
We all know your history from Argentina to the United States.
What kind of impact did the switch from one reality to the other have on you, especially during a time when skateboarding was only visible through magazines or videos?
Did reality surpass your imagination?
My first trip to the USA was just a hit of reality. I didn’t know what to expect, as information back home was so limited. All the spots were far away, you just could get in a bus from spot to spot like back home. Rails were big and all the tricks that we saw in the few videos that we had access too were also really difficult. But the good thing was that most of the spots had good ground and there were so many of them. Being able to skate the spots from the magazines was a dream come true.
What aesthetic differences did you notice back then when going from the Argentine skate scene (surely less polished) to the Californian one (super polished)?
Like I said, ground was perfect, and if you wanted to skate stairs, you had all the sizes, same as rails. Square, round, you name it. Back home we only had a few.
Also, something I’ve always been curious about is the substantial difference in the gear used for shooting [photos and videos]. Was it easy to get American gear? And how did you guys manage it?
I travelled with a vhs camera that my brother gave me. At that time people were getting more serious about the gear that there were filming and shooting with. I was just worried about skating, nothing else. But after a few years of living there I started to get my own gear too.
“Rails were big and all the tricks that we saw in the few videos that we had access too were also really difficult.“
Back in the U.S., who was the first skater you saw in person that really influenced or shaped you during your time there?
Cairo Foster was one of them. Skating with him in San Francisco, really pushed my skating. We were the very few at that time trying to skate big stuff in the city.
Your first board sponsor was Think [is this correct?], one of the strongest brands to come out of SF. Did you see yourself reflected in their aesthetic at the time, or was it all just by chance?
I honestly did not care about anything at that time apart from skating. I just couldn’t believe I was getting free stuff and skating for a brand like Think. The team was sick at that time too.
Speaking of Think: Phil Shao (RIP) was one of the strongest and most talented skaters ever, but perhaps he was more appreciated posthumously, with the evolution of skateboarding over time. What was he like? And how good was he on a skateboard?
Do you remember a trick or session where you thought: this guy is something else?
When I moved to SF, Fausto Vitello (Founder of Thrasher) put me in a house were Phil and Paul Zuanich (Also Think team rider). With no English and no money, I was stuck there, just waiting for Phil to drive me to the city (He lived in Palo Alto). At that time he was working as the editor assistant and we spent a lot of time together. Him and Jake (Phelps) were the guys in charge of teaching English and the right terms to get around. He was one of the most intelligence person I have ever met and well as nice and the sickest skater. He could do it all. Cardiel, GT type of deal, with finesse. Loosing him was a big hit, as he became like my older brother there.
Emigrating from the Southern Hemisphere to skate in the U.S. isn’t easy, and it was even harder in the ‘90s — no cell phones, no internet, nothing. Beyond the nostalgic poetry, did you ever find yourself thinking: I can’t do this, I can’t live here? And what did you do to keep chasing the dream?
Skateboarding has been always my support. When my parents died, skateboarding was there, when I moved to the US, skateboarding was there…Even though I was missing my friends back home, I felt like I was doing it for all of them that weren’t there. They were my inspiration and motivation.
What was it like to live through the Golden Age of SF, with Slap, the rise of DLX, the constant presence of EMB and everything that came with it in terms of aesthetics projected to the rest of the world?
It felt like you were part of an outsider group compared to the dominant technical skateboarding scene of the time.
I feel lucky experience some of those years. Slap brought the artistic part of skateboarding which still remains in a lot of the more independent brands. Skateboarding was a small group of individuals trying to express themselves. I feel like that got lost now with social media and saturation of information and content.
In your opinion, who are the most underrated skaters you’ve met? Skaters who, for whatever reason, didn’t get what they deserved from skateboarding (whether for sponsors, looks, wrong timing)?
When watching old videos or photos, do you ever think: that guy was incredible and I didn’t realize it at the time?
It happens to me, for example, with Tim Brauch — he skated insanely well, but back then I couldn’t appreciate it because he didn’t skate according to the trends. I could say the same about Phil Shao.
A lot of guys that I skated with were like that in SF. I was tough to make a living out of skateboarding and most of the guys had to get a part time job, even if they were sponsor or pro.
In skateboarding, I believe that aesthetic sense is super important — it started as a way to break the rules and trends, only to become a reference point for today’s high fashion.
How did you experience the different ‘trends’ that have come and gone over the years — and continue to this day?
When I was young, most of the “normal” people would give us shit because we were wearing our “grandpas” pants, now everyone wears baggy pants. Same with music, haircut, etc. I always wear whatever makes me skate better and that could be a pair of dickies of some baggy jeans. There are no rules, that’s why we were always the anti-trend, even though we were marking the trend.
“I feel like that got lost now with social media and saturation of information and content.“
Do you have any “fashion regrets” when you think back to times you tried to “dress the part to skate”?
Never look back.
You moving to Toy Machine felt almost natural, considering your tendency to go BIG, but how do we explain you surprising everyone at one of the first Es’ Game of Skate events by making it to the finals?
That was actually unexpected, as I was just arriving from a skate trip to Europe and since the contest was close to my house I went there and enter it. Making it to the finals really changed the perspective from a lot of people that thought that I could only skate gaps.
After so many years in the U.S. you went back to Argentina, where you managed a distribution company, then moved to Europe (where you live now) and started Cleaver.
If you had to describe the main differences, how would you classify these three phases of your life?
After living in the US for nearly 6 years, moving to Spain was a big change, cultural and skating wise. A lot closer to back home, but with tons of spots to skate. It was a lot easier for me to get shit done.
Then moving back to Argentina and starting the distribution for Toy Machine was tough, lots of restrictions and country barriers. That is when I decided to do my own thing and in 2013, I started Cleaver Skateboards Then in 2018 my family and I moved back to Spain, where I basically had to start Cleaver from scratch, getting new suppliers, new shops, etc..
All those years helped to realize how hard it is to run a skateboard business and if you want to stay in this you have to do a lot of things to survive.
The main differences about those phases are that with more responsibilities, more work and less time to skate. But to own a skateboard brand, you have to be in the streets.
As skateboarders, we’ve all had a favorite period tied to outfits, tricks, and overall skating. Tell us about yours — who inspired you and why?
I have had many phases, specially when I was younger. Probably, my favorite era was early 90s, EMB, those guys did it all and looked cool as fuck. Carroll was definitely my favorite and a big inspiration.
“Then moving back to Argentina and starting the distribution for Toy Machine was tough, lots of restrictions and country barriers.“
What’s your current setup? Do you stick to a fixed one or do you change it up every now and then?
I have been riding boards size 8.25 for the past 27 years, but for the past 6 years I have been riding shovel nose boards. They feel more comfortable and more stable under my feet. As for trucks, I rode Independent trucks for the longest time, but I moved to Ace a few years ago. I ride the new 44 inverted, they are great. 53/54 conical full 99B Spitfires, and Swiss bearings. All black Pepper G5 grip.
What are your setup obsessions? What absolutely has to be there?
Always black griptape, graphic wheels inside out, and flushed bolts. It kills me when they stick out.
We remember Suffer the Joy by Toy Machine, where Caswell had this ritual before going for a trick (touching his wheels, messing with his hair, etc.).
Have you ever had any pre-trick rituals or obsessions? If so, what were they?
No obsessions, but I often find myself pulling up my pants before tries. Sometimes I also scream something mid air trying a trick. That is when I go for it no matter what.
“Always black griptape, graphic wheels inside out, and flushed bolts. It kills me when they stick out.”
And what are some of the weirdest or most surprising rituals you’ve seen other skaters do before trying a trick?
I have a friend from Argentina that would shout out “Rowley, Arto, Motorhead…” and “Carlos” (his dead uncle) before trying a trick. He would also yell to himself, “What are you here for? Make it now!!!”
If tomorrow Diego woke up without any brand support, would he still skate just for himself? [Not a fan of this question]
Of course, I don’t skate because I get free stuff. Skateboarding has saved me and I don’t owe him shit.
In the video Past, Present and Future, what immediately caught my eye was the crazed look on your face right before a massive frontside ollie…
What were you thinking at that moment before your ollie?
My legs was falling apart, so that was my last try before not being able to skate anymore. I had to make it.
How much can adrenaline and obsession for skateboarding help you overcome fears and limits?
And even at your most confident, how calculated is the risk when skating big?
We know Jaws, one of your heirs, has a self-imposed height limit that he knows he can’t overcome.
When I was skating big stuff, I wasn’t really thinking about consequences. I just made sure to go fast enough to clear the gaps/stairs and land on my board.
Now that I’m 48, and my body feels right, I will still try to do the same.
How do you feel when you watch your old clips skating massive spots?
Aren’t we all our own worst critic? When watching your videos (if you still do), do you ever think: I wanted to land that trick at that spot and didn’t, or: I could’ve done it better, or differently?
I did best, and I’m still trying. Different times, different age.
Thinking about your skateboarding, what were your “greatest misses” — tricks you tried and fought for but, for various reasons, just couldn’t land?
If I didn’t land them it was because I got fucked up or got kicked out. No misses on skateboarding…
There’s a term I like — and I’m borrowing it from a well-known podcast — “the bunt”.
Have you ever thought or said: I want to do that trick at that spot, and then realized it was beyond your capabilities?
Several times. But usually when I go to try something, I check it out before doing it, just to make sure I´m not claiming something that I can’t do.
And I’m not just talking about big gaps — maybe technical tricks or something else.
Is skateboarding an art form, a lifestyle, or a sport? And why?
All of them. You express yourself, you live it and your body exercises.
“If I didn’t land them it was because I got fucked up or got kicked out. No misses on skateboarding…”
You were one of the skaters that Jake Phelps apparently took under his wing?
Jake was known for putting skaters in front of “impossible” spots to create challenges.
How many times did he throw you at a spot that forced you out of your comfort zone?
How many times did you say no to him?
Jake was my big brother, he was always there for me. He did often take me to some serious spots, but I wasn’t going to kill myself if a wasn’t sure I could make it. The first time I met Jake, him and Mic-e Reyes (Old Deluxe Team manager and SF legend) took me on a tour to all the crazy spots. He took me to the Rail that Cardiel hit his face on and told me that I should bs 50 it, than Cardiel boardslid it and that I should do it (Obviously without telling me that he killed himself trying it). I basically told him to fuck off and then, laughing he told me the truth.
Then we went to this big double set that no one had skated before and bet 20 bucks on me ollieng it first try. 20 bucks? I said. I was broke as fuck, so went for it and got it. After that, he never fucked with me again.
A special memory of Jake Phelps?
If I’m not mistaken, you went on tour together — just the three of you: you, Hewitt, and Phelps — and honestly, that’s what I’d call an “eclectic” group.
I have way too many stories with Jake, but the best time with him was when he came to Argentina by himself and we spent Christmas with my friends , my Grandma and my brother. He told me that that was one of his favorite trips aver because everyone treated him not as Jake Phelps, but as another good friend.
Loosing him was a big hit for me, but I’m greateful to have him as my mentor and friend.
A question that might cause some “division” — but is it just me, or is skateboarding experienced more “romantically” in Europe, compared to the money-driven brand loyalty in the U.S.?
Skateboarding is Skateboarding, every individual feels it in different ways. That’s the beauty of it.
How often does that “poetry” clash with reality when skating at a professional level?
Being South American by birth and European by adoption, you might have a more detached view of the skate industry.
How many times over the years have you met famous skaters and realized you were skating for different reasons — or noticed they saw skateboarding only as a job, and did it with much less love than you expected?
When you see Skateboarding as a job, you are doomed. It’s true that as professional skateboarder you have your responsibilities with you sponsors, but you never have to forget why you are doing it.
“Skateboarding is Skateboarding, every individual feels it in different ways. That’s the beauty of it.”
Upcoming projects?
At the moment I´m trying to stay busy, designing new stuff for Cleaver, shooting pictures, filming for a couple projects and making pizzas!!! All that on top of my father and husband duties. I can’t complain, I’m alive and still skating at 48.
Thank whoever you’d like — and above all, thank you for your time!
Thanks to all my friends, family and people who supports what I do.
– S
