Zana Bayne and Bustedbrand are two of the most low-key yet cultishly-loved designers in L.A. dealing in leather and latex

In a lofty space streaming with hot light on Los Angeles Street, there is a dressing room with heavy red curtains and a door in the shape of a butt plug. A mirror inside captures your reflection in its familiar curvature, and, of course, you pull out your phone to take a picture — because when have you ever seen a butt plug-shaped dressing room before? Across the room, a Wassily-style chair sunbathes in the corner, with a handmade burgundy leather base and back, studs running along the seams. The chair has straps on its armchairs — made for wrists to slip into — with custom silver buckles in the shape of an outstretched woman’s physique. Vintage fetish magazines line the glass table in the center of the room, which smells of fresh paint, leather and latex. On a warm afternoon in August, this space is still under construction, but soon it will be a store: the shared world of Zana Bayne and Mariano Cortez, a physical manifestation of their creative partnership and personal relationship.
Bayne and Cortez are two of the most low-key yet cultishly-loved designers in L.A. dealing in leather and latex, respectively. What people come to Bayne for is her specific style, where all details are meticulously done by hand, and where hardware reigns supreme. (She made the aforementioned chair.) A Zana Bayne piece feels structural to the point of sculptural — a leather crystal-studded corset flaring with hip ruffles that unfold like an accordion; a lace-up corset eyelet skirt that creates a soft, voluptuous curve line away from the body. The pieces are instantly recognizable as hers: hand-laced rivets holding together a bustier in the shape of a broken heart, the way one of her spiked choker handbags seems to defy gravity. Cortez is the Latex King of Los Angeles, known for developing new techniques with the material, or imagining it in completely new contexts. In Cortez’s hands, latex becomes printed as leopard and cowhide, it becomes evening wear, sportswear or business casual — from a football tank to a floor-length dress to a blazer.
And they happen to be in a relationship. Sitting in the room with Cortez and Bayne, there is a gravitational pull that can be felt when in the presence of opposites who speak the same language. Leather and latex being their shared dialect. Fashion is a small world, fashion inspired by fetish wear is even smaller. There is a mutual understanding between the two designers, both about the practical things — like impossible schedules or the kind of obsessive nature you must have to be successful — and the big things, like living a life in dedication to your practice, or what it means to blend the realms of subculture, art and fashion. “What we do is so blood, sweat and tears — every iota of your being at times — and if you aren’t in it, it’s really hard to understand for certain people,” Bayne says.
In February, Bayne posted an image of a photo strip of her and Cortez and captioned it: “Leather mama & latex daddy.” The store, called FETISH and launching in October, is somehow the culmination of this exact description. Which takes us back to the beginning: What happens when a leather mama and a latex daddy fall in love?
Walking into Cortez’s studio in the fashion district, you are first hit by the distinct smell of rubber, filling your nostrils, washing over your brain in a haze of strangely intimate comfort. Cortez and Bayne are wearing all black in 90-degree heat while sipping on green juices. She is in a Nine Inch Nails 2008 tour T-shirt, thrown over a slip dress with fishnets on, and Cortez is in a T-shirt, cargo shorts and boots. They tell me that earlier that day, Chappell Roan wore a custom Bustedbrand X Zana Bayne look on stage at Lollapalooza for what was said to be the festival’s biggest audience ever. Roan jumped around in a hot pink and electric blue lucha libre wrestler’s outfit made of latex, with iridescent leather accessories including a belt, mask, shin guards and wrist and upper arm cuffs. Bayne started with accessories early in her career — first creating a single harness — back when she was an obsessive fashion documentarian with the blog Garbage Dress, and was enamored by the transformative qualities a small piece could have on an outfit, an aura. “There’s something about a strap of leather and a buckle that can really make people go wild,” she says. “I’m still not sick of exploring that.”
Cortez and Bayne started their brands at different times, both literally and culturally speaking. In 2011, when Zana Bayne was formed, there were fewer people making harnesses intended to wear at a concert or party, or in broad daylight. Bayne was one of the designers to open that world up for designers like Cortez, who would officially start his brand in 2018. Back then, anything that was made of leather with some rivets would be pigeonholed as strictly fetish wear, Bayne remembers, and there was little focus on the actual quality or design of the garment, which is what her brand was driven by. The term “post-fetish” was something her brand created to describe the kind of clothing she was making (mostly as a diversion for press, which in the 2010s loved to throw “BDSM” in a headline when covering the brand). Her work was rooted in and inspired by bondage, but she decidedly did not position itself as a bondage brand. “That term didn’t exist,” Bayne says. “The term post-fetish was, like, apres ski, like, postmodernism. It was a word play thing, and it worked. Now, there’s hundreds of brands. There isn’t a void to be filled anymore, because it’s its own monster.”
Cortez likes to think of his work as a bridge between fetish and ready-to-wear. “It still comes from a fashion standpoint — my interest was in latex material and what it could be,” says Cortez. “Respecting the roots of what people created this for, and then turning it into a more practical [garment].” One of the many iterations of designer Vivienne Westwood’s iconic boutique, Worlds End which she opened with then-partner Malcom McLaren in the ’70s, was famously dubbed “SEX,” with a huge sign in pink squeaky letters at the top. The store sold fetish wear and had whips and chains on display. Their slogan was: “rubberwear for the office.”
For both Cortez’s and Bayne’s designs, something special happens when they are seen, when they are out in the world. This is when they come to life, when the natural tension of wearing fetish-inspired wear — like one of Bayne’s spiked triangle bras, or Cortez’s latex cat suits — in a new context rises to the surface and you can see it in action. For the wearer, there is also an obvious dedication necessary to wear the pieces — both leather and latex, specifically latex, require a particular care process, and getting a piece by Bayne or Cortez on is an entire process on its own. There’s an intensity to the materials that, no matter the context, remains. There is a satisfaction to seeing Beyoncé wearing a full latex outfit on the cover of “Cowboy Carter,” which Cortez designed, or Ariana Grande wearing a full custom lavender leather look in the video for “Rain on Me,” which Bayne made. While on some level it feels as if they are positioning themselves towards the subversive through the code of fabric, it is also a straightforward appreciation of the designs themselves.
Bayne is mostly self-taught. She grew up in San Francisco, where she attended the San Francisco Art Institute and got a degree in conceptual art. “The first corsets I made came out of nightlife and subculture,” she says. “In San Francisco at that time, everyone was doing everything all at once. You go from a leather bar to a drag show to a punk show to a noise show. We’d go to soul night and then some rave off the train tracks. It was just this mix of subcultures and fashion.” Then she moved to New York, which is when her brand got its legs. Slowly and organically, stylists were pulling pieces for their clients, custom celebrity requests started coming in and eventually she became a highlight at New York Fashion Week. “All of a sudden I was making things out of my bedroom for Lady Gaga,” Bayne says.
Cortez is from Temecula, where he grew up in punk scenes, going to the desert, skating and doing BMX — which people still recognize him from, Bayne adds. He got injured at one point from BMX, and wasn’t able to walk for a year, which is when he put all his energy into learning about fashion on Tumblr. He moved to L.A. as a teenager, where he got an internship-turned-job at L.A. Roxx, a custom design house specializing in leather. They’d get calls from people constantly, inquiring if they worked with latex, which piqued Cortez’s interest. “It was curiosity,” he says. “People not knowing, also me not knowing, just made me dive deeper.” He’d go on to learn the craft under an L.A. fetish latex designer before starting Bustedbrand on his own terms.
Cortez knew of Bayne’s brand long before he started his own, and says that a lot of her designs were a big inspiration when he started out, and still are. Bayne quips in response: “I thought that some things looked slightly familiar. However, I always maintained the opinion that Busted had the coolest latex designs, the most relevant designs, and that their branding was better than anyone else’s who was in the game. I was both somewhat annoyed and appreciative. I couldn’t help but be like, ‘Yeah, you’re doing a great job.’”
Bayne is a Virgo, Cortez is a Pisces — sister signs that, in theory, are on opposite sides of the spectrum, but, in practice, serve as each other’s balance. It checks: Cortez is quiet and stoic, with a subtle warmth that reveals itself as he gets comfortable, while Bayne’s dark humor, sharp intellect and charisma serve as a magnet. Cortez regularly giggles at her dry jokes. It’s clear they share a shorthand, inside things that they don’t care to explain. They seem to complement each other in ways beyond just a shared aesthetic. “I think we’re both very stubborn people,” Bayne says. “An interesting thing to learn was how we’re saying the same thing, but in totally different ways.”
Their work kept being featured in the same editorials, on the same artists for years — Beyoncé, being one. People would come into Bayne’s studio carrying a Bustedbrand bag. And she’d think: “There it is again.” They’d physically been in the same room many times as well, and were cordial to each other, but hadn’t communicated beyond a head nod. “I’m mean,” Bayne jokes.
“She made a personal [Instagram] account and I had followed [it],” Cortez remembers. “Then I saw she started hanging out with my friend, Britton [Litow], and I asked, ‘What’s up with Zana?’ I told her I was interested.” Litow texted Cortez a couple days later and said that Bayne was interested. “I was like, ‘He can ask me out,’” Bayne says. No moves were made until Litow’s birthday dinner a couple months later at Mr. Chow, when she sat Cortez and Bayne next to each other. “He was wearing sunglasses,” Bayne remembers. “At night.” Their first date was at a bar where Bayne wore a “really intense outfit,” which was one of her own pieces.
Being in a relationship with another designer has been a comfort for Cortez. He’d never been able to share the highs and lows of the business with anyone else like this. “Zana definitely helps me be a little less one-track mind and enjoy what just happened,” he says. “That’s been pretty leveling, grounding. It’s been really nice that we share these experiences.”
“It’s really cliche for people to say, ‘I want to be with someone who challenges me.’ And I’ve never felt that way before. That’s never something I’ve looked for, but I think we definitely challenge each other,” Bayne says. “You remind me of what I love about what we do and where it can possibly go.”
Bayne says Cortez is constantly curious, with a brain full of “a million question marks at all times.” “I think curiosity has brought me to a lot of really interesting new techniques,” he responds. There is a spaceship-looking machine behind him that takes up an entire corner of the massive studio space, a laser cutter that he uses for his latex work. This is part of a production system Cortez developed for himself, which has further allowed him to think of latex in new ways, including using traditional garment techniques like sewing — something you usually don’t do with latex — which makes it possible to create some of his silhouettes, like a voluminous bomber jacket or a boxer short.
It’s a moment of expansion for Bayne as well, who is in the process of releasing a run of non-leather items for the first time inspired by the visual language she’s built over the last 13 years.
Charli XCX starts bumping on the speaker that is connected to Cortez’s phone — “maybe we go like one notch down?” Bayne asks, laughing. Charli wore one of Bayne’s skirts for a recent spread in British GQ. A non-exhaustive list of Bayne’s clients — mostly custom — include Rei Kawakubo, Kim Petras, Eartheater, Kim Kardashian, Brooke Candy, Doja Cat, Debbie Harry and she’s in the process of making some pieces for L.A. billboard icon Angelyne. For Cortez, that list includes 2 Chainz, Rico Nasty, Hailey Bieber, Ye, among others. They’ve collaborated on custom looks for artists, including Roan. And earlier this year, they collaborated on an exclusive collection, featuring micro triangle bras and belts in classic Bayne construction with a Bustedbrand flair through the leopard print and star appliques. “We have brands that work seamlessly together,” Bayne says. “It’s a no brainer.”
The ultimate collaboration will be the new store opening. Cortez’s father built the butt plug cut-out for the fitting room. “I told him it was a spike,” Cortez says, laughing. “The next day after I sent him the photo and the dimensions he was like, ‘That’s a butt plug.’”
Cortez and Bayne want the space to feel “clean and sexy.” “We’re building our universe,” Bayne says, which means the store will feature their pieces and exclusive collaborations, but it will also be a home to their musical inspirations, beloved objects and design references. They want the experience to be one of discovery. “There’s beauty, there’s severity with what we do, but there’s going to be playful elements,” Bayne says. The store is also an opportunity to continue presenting leather and latex in the contexts in which Cortez and Bayne imagine them in. Spending time in the space itself feels like sitting in on a conversation between Bayne and Cortez, which is a rarity, given the intentional mysteriousness around them as a couple.
“It’s really special what we get to do, and what we do [is] really f—ing hard,” Bayne says. “It takes a chunk of your soul constantly, but there’s got to be a part of us that loves what we do.”
“I told myself that the other day,” Cortez says. “I love what I do. And I’m glad I get to share it with Zana.”
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