In a fashion landscape dominated by algorithmic trends and content churn, Ruby Mariani is building something slower, sharper, more subversive. The UK-based designer behind R & M Leathers draws on the codes of rock and roll, fetish, and performance to create pieces that ask us to think differently about the act of dressing and undressing.
Leather—Mariani’s material of choice—has been a life-long obsession. Having spent her early years surrounded by the sights and sounds of rock n’ roll (her father was a musician), the designer recalls a childhood ornamented by denim, leather, and hair. Early memories of liberty-spiked punks at music festivals left their mark, filtering into her design approach today. Explore R&M’s collections and you’ll find leather sculpted into all sorts, from chain-fringed bras to heavy-duty belts.
With a growing cult following, and recent sightings of her designs on Charli xcx, Aimee Lou Wood and Dua Lipa, Mariani remains committed to a slower, more intentional way of making. We caught up with the designer to talk about her interest in leather, her passion for music, and her current inspirations.
Hi Ruby, it’s nice to speak to you. You’ve mentioned previously that you grew up surrounded by music—your father is a musician. When you think about growing up in this music community, what do you remember seeing, fashion wise? What were people wearing?
There was lots of denim, leather, and hair. My dad had this perfecto he would wear with very beat up Levis. People in his scene always seemed to have a look. Something they had cultivated and made a uniform from emulating their rock and roll heroes in their youth.
I do have a very early memory of going to a festival with my parents and seeing liberty spiked punks up to no good. I must have been around four or five, they freaked me out. Then later on, going to shows on my own where I’d be exposed to people my own age doing their own thing with clothes. Less developed aesthetics but great, nonetheless. They were looks made to only withstand one night out.
I do have a very early memory of going to a festival with my parents and seeing liberty spiked punks up to no good. I must have been around four or five, they freaked me out. Then later on, going to shows on my own where I’d be exposed to people my own age doing their own thing with clothes. Less developed aesthetics but great, nonetheless. They were looks made to only withstand one night out.
I know that you grew up playing instruments. When did your mind first turn to fashion and design?
I’ve wanted to be a fashion designer for as long as I can remember, so it wasn’t really a departure from music per se, but more a progression of my fundamental interests. My strengths lie in creating a visual language that reflects the influences I’m drawn to, combined with construction. Design allows me to bring these aspects together and leather is my medium.
Do you see music and fashion as being interconnected? How do you build both disciplines into your work at R & M Leathers?
For me, music comes first, and it informs what I create, but I keep them separate as obsessions.
Can you speak on your relationship with leather as a material? What draws you to working with this material?
Black leather specifically says so much. It’s tough and soft at the same time, used in uniform, battle, adornment and kink. It also has this bond to defiance and the extremes. It’s very versatile to work with. I’ll build up something really hard and heavy or hand-cut lace. I love the duality.
In the past, you’ve launched collections using zines. It’s a refreshing approach in an industry dominated by these very fast, fleeting social media campaigns. How would you describe your relationship to your customers today?
It always felt important to showcase the collections in a way that felt true to the fetish world. Immortalised in print and purchased via mail order. It feels like we’ve built a little world of people who desire the same feminine yet raw approach to dressing up. It’s definitely a slower and more considered approach.
Across the luxury fashion industry, I’ve noticed a real surge of references to kink clothing and imagery over the last few years. Why do you think that is? Do you think we’re becoming more comfortable expressing ourselves and expressing sexuality?
It’s a lot less taboo these days to be into kink and fetish. It’s been taken out of the sordid sex shop or online forum (both of which I love) and onto the runway. I guess making it more palatable. What better way to express your sexuality than dressing or undressing yourself.
You’ve created looks for performers like Charli xcx, Dua Lipa, and Olivia Rodrigo. How have those experiences impacted you as a designer? What’s it like seeing your designs on a stadium stage?
There’s a strong legacy of leather in performance, so it’s flattering to be part of that tradition and to see my work on that kind of scale.
What has been the most rewarding project of your career so far?
PURE R&M, our last collection. It was pure leather fantasy. Using the tropes and conventions you’d see in a Penthouse or Hustler but reimagining them in exclusively leather.
We’ve made dainty frilled leather bras, chain fringed bedroom mules, a studded apron and heavy studded utility belts. I was lucky enough to work with one of my favourite photographers Sharna Osbourne. The outcome was pure sex. We immortalised the R&M woman in this series. Her outfits are behind glass and her autograph emblazoned over photographs.
We’ve made dainty frilled leather bras, chain fringed bedroom mules, a studded apron and heavy studded utility belts. I was lucky enough to work with one of my favourite photographers Sharna Osbourne. The outcome was pure sex. We immortalised the R&M woman in this series. Her outfits are behind glass and her autograph emblazoned over photographs.
What is inspiring you right now?
Lately, I’ve been gathering late 60s private press magazines A5-sized, three-colour prints. They depict women in leather, performing the silent rituals of domestic life in suburban settings. The existence of these clandestine spheres and the elusiveness of images like these keep me going.
Finally, what are your goals for the remainder of 2025?
I am currently working on my new body of work, which includes plans for menswear, a natural next progression for me. I’m also working on some collaborations that I can’t share much about just yet, but I’m very excited for what’s to come.
