Cover Nine years ago, Malaysian designer Ryan Lee taught himself to leatherwork, and now he creates beautiful handcrafted pieces of handbag art
Nine years ago, Malaysian designer Ryan Lee taught himself to leatherwork, and now he creates beautiful handcrafted pieces of handbag art
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Malaysian heritage matters to designer Ryan Lee. We meet him at his studio to discover the secrets and skill behind his work
The Penyapu bag seems to defy gravity. Even sitting on Ryan Lee’s studio work table, the bag looks like it’s floating, borne aloft by layers of fluid, flowing leather tassels. But as with many things in fashion, there is no magic here—only expert craftsmanship in service of a creative vision.
The bag starts with a cylindrical base, hand-stitched together from three individual pieces of leather to form a smooth, sturdy framework. Then comes the magic, by way of hours of repetitive handcrafting. 72 individual strips of leather are burnished, painted, folded and then tied onto the base with mathematical precision. When all the tassels are in place, the illusion is complete: a symmetrical leather form becomes soft and weightless, full of dynamism even when sitting still.
Read also: How Nelissa Hilman and ManekNya created Nadia Jasmine’s dream Peranakan-inspired wedding shoes
Above Ryan Lee’s Penyapu bag is handcrafted with 72 individual tassels
Ryan Lee’s Penyapu bag is handcrafted with 72 individual tassels
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“It’s the most conceptual piece I’ve made so far,” Lee tells us from his home studio in Kuala Lumpur. “The Penyapu bag was inspired by a broom, in alignment with the kampung house theme I was going with for the ‘Barangan Rumah’ collection. I didn't expect it to be so labour-intensive; the initial plan was to take one long strip of leather and cut slits into it to wrap around the base of the bag, but that came out to be too two-dimensional, and I wasn't satisfied with the outcome. In the end I was able to tie strips of leather in a way that jutted out at the top and gracefully curved downwards, giving the illusion of more volume.”
Above Ryan Lee in his home studio in Kuala Lumpur
Above “I make everything by hand; As of right now I am still a one-man-show,” Lee tells us
Ryan Lee in his home studio in Kuala Lumpur
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The designer launched his eponymous brand two years ago, starting with small leather goods in clean lines; over the months, Lee wove in new materials and techniques, experimenting with shapes and textures culminating in this year’s ‘Barangan Rumah’ collection. These are pieces inspired by humble elements around a kampung home, crafted in the finest calfskin and handwoven rattan. The Penyapu is, of course, inspired by a broom; then there are the Tingkap designs, which feature an ingeniously designed closure that mimics a four-pane window frame.
Above The unique closure that features on the Tingkap series is inspired by windows
The unique closure that features on the Tingkap series is inspired by windows
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The brand is a result of years of trial, error and self-tutorship on Lee’s part—and also a serendipitous turn of events. “When I was 11 I started making tiny paper bags the size of a finger for fun,” he tells us. “For some reason it stuck and continued with me until high school. I found leather for the first time when I was 15 and it was purely a passion project at the start, so I had to stumble my way around into what I am today. The leathercrafting scene in Malaysia only started to expand more a few years after I got into it, so there was a period of time at the start of my journey where I was using the tiniest needles I found in sewing kits to pierce through multiple layers of leather.”
Above The Tingkap rattan mini bag by Ryan Lee
Above Lee handcrafts every piece produced in his studio
The Tingkap rattan mini bag by Ryan Lee
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After graduation, Lee interned at homegrown fashion brand Bonia and came to a crossroads. “I was learning French to apply for an apprenticeship at the Hermès factory in Paris. It never happened though and now I’m here,” Lee laughs.
Hermès’ loss is our gain—the brand Lee subsequently built is thoughtful and intentional, shining a light on craftsmanship and culture. “My vision is to start a Malaysian heritage brand, and I intend to use mostly Malaysian design motifs and influences in my product design language,” he says. “I hope to show people that the best levels of craftsmanship and design can also be found in Southeast Asia, or more specifically Malaysia, and not just in the west.”
Above Lee works with French calfskin and goatskin
Lee works with French calfskin and goatskin
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Every piece in the Ryan Lee lineup is designed, prototyped and crafted by the designer himself. It’s a timely reminder for us that in a world of infinite scrolls and immediate gratification, slow fashion is worth the wait. “My products are made of high end materials and manufactured with the best craftsmanship in mind—they also come with higher than average price tags,” Lee tells us. “The hard part is getting people to see the value in my products without having to read a lengthy essay about how the product was made.” But when you witness Lee’s work in person—tassels moving gently through the air, handcarved leather clasps closing with a soft, satisfying click—it’s not hard to see the hours of work and thought poured into each piece. As he says in parting, “The local fashion scene has so much more to offer than people realise.”
Credits
Photography: Fady Younis
Emma Chong is the Managing Editor of Tatler Malaysia, overseeing the editorial direction and vision for the print, digital and social media arms of the title. She has over 15 years experience in fashion and lifestyle publishing, and has led print and digital editorial teams at ELLE Malaysia, Time Out Kuala Lumpur, The Luxe Nomad and more.
Outside of work, Emma spends her time wrangling children (only her own) and boosting the Malaysian economy through her support of local fashion and homeware brands.
