Whoa! You might think they’re straps of submission, but consider the words of poet laureate Robert Frost, who wrote “You have freedom when you’re easy in your harness.” Driving home the power and strength of the word, know that Brooklyn designer Zana Bayne harnessed her own energy and imagination to initially handcraft what she simply describes as “a belt with two extra belts on top.” She’s woven her way up to risk takers like Lady Gaga, Debbie Harry and Madonna, so we wanted to know more about her leather lore.
Gwynned Vitello: What did your childhood bedroom look like, and how did it morph into the teenage years?
Zana Bayne: I’ve always liked surrounding myself with lots of things, and growing up, my bedrooms were always complete chaotic messes! I loved having all of my things out in plain sight at the same time, which can get quite messy. I do recall cutting out the brightest and most graphic advertisements and editorials from Elle Girl magazine, pasting them up on my walls like tiles. Later, when we moved to California, I was definitely feeling more in touch with my Goth side, my bedroom a sponge-painted dark purple, and I had this Victorian-looking bed frame with a Moroccan lamp hanging from the ceiling to top everything off.
With your mom being in the fashion industry, did she influence you? Did she let you dress yourself for school?
My mom continues to be a massive influence on me, from her eye for design to her experience in business. I feel so lucky to have been raised in a creative family, allowing me to express myself through my clothing, no matter the phase. I grew up with a stay-at-home Dad who didn’t put restrictions on what I wore, sometimes resulting in peculiar combinations like wearing three skirts layered over each other, or my favorite gold felt crown which I wore every day to kindergarten.
Were your fine arts studies helpful when you decided to go into fashion design?
Certain aspects of my education helped, and others hindered. In college, there was an attitude that fashion was not to be taken seriously, that it was frivolous and a lesser practice than the traditional fine arts, and more specifically, the antithesis of conceptual artwork. I think I struggled with this a bit at the time, but I don’t carry any of that attitude. What I have taken is a very graphic eye for shapes and forms, and an interest in how they interact with the body.
I imagine you put clothing items together in unexpected ways, but did you ever sew any of your own garments?
Absolutely! I love mixing and matching vintage with designer, and filling in the gaps with pieces that I made myself when I couldn’t find or afford certain things. When I moved from San Francisco to Berlin, I actually brought my sewing machine and bag of pyramid studs with me.
Did you make belts at first and then literally branch into harnesses? What was the first material you used?
Before leather, I fashioned a rudimentary harness out of elastic and key chain rings. Later, when I gained access to the materials, my first proper harness was made from vegetable-tanned leather that fastened at the waist, as well as over the shoulders—still sold as the “Signature Harness.”
How did you figure out how to make the design? Pattern, template, sketches?
The first piece was a series of small belts around the body. Being self taught, I convinced myself that I did not know how to make proper garment patterns, so I simply didn’t use them. When we started selling online, the pieces weren’t even traditionally sized, and each piece was made according to customers’ measurements. Obviously, this could only work for so long. Now, I come up with a sketch, then make a rough first sample. From there, my design assistant fine tunes the sample and draws out the technical pattern.
Tell us about the qualities you look for in leather, and how you use different textures and weights for various designs.
Much of the collection maintains structured shapes, so the leather must have a measure of rigidity. The pieces in the “Originals Collection” were, and are, fashioned from heavy cowhide, which keeps a smooth exterior with a secure feeling of durability. The seasonal collections are made from double-faced bonded leather, so both sides are luxurious to the touch and allow a variety of textures and colors. We’ve been playing with different weights recently, as I’m interested in creating lightness and movement with certain styles that have hundreds of straps. Each piece must be comfortable, as well as visually striking, so we strive to balance design intricacy with leather and hardware.
Do you use other materials?
We introduced PVC in 2012 which, when clear, has a wild effect layered over clothing. Every season, we work with different textures like exotic skins or patent, so new materials are always a possibility.
How long does it take to make a harness, and do you deploy the troops?
The “Signature Harness” might take twenty minutes, while one of the fully-linked dresses is at least six hours to assemble, not including prepping the straps. Currently, our studio is run by four permanent staffers, as well as a rotating cast of interns.
Where do you source the metal accoutrement—even the tools you use—and have they become more complex?
Sources always vary, and many components have become signature to the designs. We also use traditional leatherworking hand tools, which are standard to the medium. Computers cannot replace them! We also work with jewelry designer Chris Haban to develop custom hardware, from star tips to Surrealist hands, to the curved, oversized buckles of the last collection.
Tell us about the video collaboration with Lady Gaga.
This was pretty early in the brand’s development in 2011, when we were contacted by Nicola Formichetta’s team to design gold-embellished pieces for Lady Gaga’s dancers for Saturday Night Live. Shortly after, we were asked to make a series of full-body styles for her and her dancers for a tour through Asia, the pieces immortalized in the “You & I” video. I’d send a sketch, wait for approval and usually had less than a week to complete the project, but was given a great amount of creative liberty.
What accompanies the creative routine in your studio?
I mostly design after hours so that I can be alone in the studio. Sometimes I’ll spend hours in silence, simply because I forgot to turn on music. I’ve found that adrenaline can work just as well as caffeine—without making my hands shake!
----
Originally featured in the December, 2015 issue of Juxtapoz, available here.
