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ARTMONTE-CARLO

An Intimate Art Fair Affair in Monaco

EDITORS PICKS | SALONE DEL MILANO 2019

We Select The 5 Projects Not To Miss Ahead Of The Upcoming Design Week in Milan

Domaine Chandon

An "In-Depth Rejuvenation" & Contemporary Redesign For The Renowned Australian Winery

STONY ISLAND ARTS BANK

Conceived by Artist Theaster Gates, the Art Centre is a Pivotal Contribution to the City of Chicago

UNDER

Dining In Norway's Southern Coast Made Possible By Snøhetta

Reversible Destiny Lofts

The Vibrant Residences That Challenge Daily Perceptions Of Space & Movement, By Artist-Duo Arakawa & Gins

BLESS N°65 Not That I Can’t Wait For It

Constantly Challenging The Norm to Encourage New Perspectives

FUKURO

Down The Stairs, A Modern Japanese Izakaya In Central Hong Kong

LE CORBUSIER

The Great Swiss-French Architect's Studio-Apartment Has Been Restored And Is Now Open To The Public

SCHAULAGER

The Unassuming Contemporary Art Gallery Designed By Herzog & de Meuron

NORTON MUSEUM OF ART

Renovated by Foster + Partners, This West Palm Beach Art Institution Has Now Re-Opened Its Doors

The Chinati Foundation

The Contemporary Art Destination in Marfa Founded by Pioneering American Artist Donald Judd

NICHOLAS DALEY COLLABORATES WITH BRITISH MILLINER CHRISTYS’

British-Barbadian Saxophonist Shabaka Hutchings Models The Jazz-Inspired Baker Boy Hat Collaboration

ISSEY MIYAKE’S PLEATS IN A NEW CONTEXT

Two Design Greats Join For A Technical Pleats Lifestyle Collection

TEAM LAB BORDERLESS

The Digital Art Collective's Innovative and Interactive Art Experience Now Open In Tokyo

FRANK LLOYD WRIGHT HOUSE AND STUDIO

American Architect Frank Lloyd Wright’s First Home and Studio Is Nothing Short Of A Masterpiece

Zana Bayne

The New York-Based Designer Creating Post-Fetish Artisanal Leather in Fashion

Words - Kat Chan

Photography - Shaniqwa Jarvis

July, 2017
Zana Bayne in her New York Studio. Photography: Shaniqwa Jarvis

On the tenth floor of an imposing skyscraper in the Garment District, designer Zana Bayne commands a small atelier filled top to tail with exquisite leather pieces. Her iconic harnesses (worn by the likes of Lady Gaga, FKA Twigs and the Kardashians) drape seductively across wall-to-wall rails. With soft leather straps, gold-toned hardware and studs throughout, Zana’s pieces are powerful yet gentle, no easy feat for leather accessories that one wouldn’t usually deem accessible.

“I think one big factor is I design for the female form” Zana says. “My pieces feel great on, they’re complimentary to a woman’s body. When you have one on it changes your posture and the way you carry yourself… I think that’s really attractive to people.”

In five years, Zana has built a formidable brand revered by the fashion world. Her story began in San Francisco where she attended the Art Institute as a painter, followed by a stint in Berlin working with Lurve magazine, before finally landing in New York. “I think participating in the history of New York design is really important. We do the majority of the collections in-house, and we work with factories that are right here in the neighbourhood of the Garment District. When we do our production, it’s here in the city.”

Hanging out with Zana, it’s clear that she doesn’t follow the traditional rulebook. Completely self taught in leather-making, she developed her own techniques as well as picking up some classic ones. “Everything I learned was through self experimentation” she says, “there are infinite variations of working with leather.” With every piece handmade by Zana and her small team of three full-time employees and a revolving group of interns, she still irrepressibly manages to keep up with the growing demand for her accessories.

“Things move so fast and you have to learn to adapt to that. While at the same time, for myself and other designers, we still have to work with six month production schedules. One thing we did with the last season was we kept the collection secret. Instead of showing something and telling our customers ‘you can look at this now, but you can’t buy it for six months’, we decided to do a showroom for just press and buyers. You’ll be able to see the images when the pieces became available to buy in stores. Everything will be seen at the same time, that’s been a very big move for us.”

“Everything I learned was through self experimentation, there are infinite variations of working with leather.” Zana Bayne

This feature was originally published in
Ala Champ Issue 9 Champion Womens Edition.

July, 2017