Leather Feathers and Human Bones at KTZ
Like the city in which it was shown, KTZ’s latest collection is a true melting pot of culture; one that re-forges and quite literally rebrands a chaotic assortment of international elements and aesthetics into something inherently original. Both transcending and assimilating seemingly all cultures, from European coats of arms to Aztec imagery to Janet Jackson Rhythm Nation, but the collection was one honed in on two essential building blocks: Native American patterns and leather. Lots. Of. Leather. Tribal patterning appeared nearly everywhere, from moccasin inspired heels to floor length rawhide coats to the utilization of a wealth of beads, feathers, arrows, and even bones. Leather dominated wherever these patterns did not, with polished leather solider caps being the first pieces to catch our eye, but this Versace-esque aesthetic extended into elbow-length gloves, skin tight pants of primary colors, and perhaps most stunningly in a dress so full of fringe it could have passed for a grass hula skirt were it not for the unmistakable leather textured exterior. We spoke to KTZ designer Marjan Pejoski about this enormous and stunning collection, as well as just what kind of bones were being used for those corset-like dresses.
Talk to me a little about the concepts behind this collection.
Well it was my first in the USA, so as a way of paying tribute to the country, to the land, and all the indigenous people, it was based on the Native Americans, after a lot of research obviously. With every collection I go through lots of troubles when I take different countries and places, and coming to America was something that I wanted to explore. I’ve always adored Native Americans and their culture since I was a kid and I always loved their flamboyancy and their furs and feathers and leathers, and it was just something that was almost very close to me to do.
What was on your mood board for this season? Native Americans I suppose?
Yes that, but I just wanted to bring in obviously a modern twist with a lot of English fetishes. But it was tricky as I wanted to bring that out in a kind of gentle fashion.
So KTZ has been around for 12 years now, how do you think your brand has grown and changed?
Well it was an obvious change and obvious progression, and you know it’s something I suppose that took lots of energy and lots of effort but also lots of love and appreciating. And I have so much gratitude for so many people who helped bring us to where we are now.
Was there anything in this collection that was a first for you?
Well there’s a certain technique that we kind of always explore for something new, and this time it was something we customized and worked with artists for. For this collection, it was developing different objects from boning –we used lots of real bones in the collection actually.
Really, what kind of bones?
Huuuuman bones! But yeah, we do a lot of custom-made things—every detail you see is everything we developed in house, the whole thing.