Latest news with #KML
Vogue Arabia
08-06-2025
- Entertainment
- Vogue Arabia
Saudi Label KML Blends Tradition and Modernity in Bold New Fashion Vision
Minimalism is often loud in fashion–white walls, clean lines and an air of controlled cool. So when I joined a Zoom call with KML's co-founders, Saudi sibling duo Ahmad and Razan Hassan, fresh off their LVMH Prize semi-final showing, I expected more of the same. What I got instead was something far more intimate and far more telling. Rather than a stylised, stark studio, the backdrop looked suspiciously like a childhood bedroom – a pristine, peachy beige one at that – immaculately organised with crisp white sheets that matched their optic tops. The unfiltered scene upended any assumptions about what a 'fashion founder' space should look like: earnest, personal, as far removed from pretentious as you can get. It was, as I quickly discovered, entirely aligned with KML's quietly contrarian approach to style. Photography by Lesha Lich, Styling by Ahmed Zaher Hassan KML, pronounced kamal, is an Arabic word meaning 'complete', an idea that sits at the core of the brand's ethos. 'It's this cultural and existential idea of people becoming more perfect, more complete when they put clothing on - the duality of being perfect on one's own, and more so when something is added,' explains Ahmad thoughtfully. It's a compelling notion, clothing not just as cover, but as an extension of self. Photography by Lesha Lich, Styling by Ahmed Zaher Hassan Raised in Medina, a city where cultures intertwine and inform one another, Ahmad and Razan's aesthetic is a direct product of the world they come from. A place where East meets West, old meets new and everything feels fluid. 'Medina is a city of mixing,' Ahmad explains, describing the fusion of Asian, African and Arab influences in their everyday lives. 'When we first started, we were focused on how different we are from other cultures. But the truth revealed the opposite; we're more similar than we are different. That was a humbling slap in the face,' he laughs. Photography by Lesha Lich, Styling by Ahmed Zaher Hassan The spirit of evolution runs through KML's latest collection, where traditional tunic tops are constructed as hybrids – part Arabian thobe, part Japanese kimono – boldly disrupted by sharp back cut-outs. Elsewhere, dramatic asymmetrical shoulder tops cut a clean silhouette, draping fluidly on both men and women, worn to great effect by model Nour Arida and celebrity stylist Law Roach at Riyadh Fashion Week. The result is a cross-cultural, gender-neutral thread that weaves together seemingly disparate influences into a coherent whole. 'There's respect for the traditional, but we're not interested in rehashing the past,' Razan says in her measured tone. 'Our goal is to evolve it. To develop it.' 'Culture that doesn't evolve risks becoming an artefact,' adds Ahmed. Its statements like these, delivered with world-weary clarity, that give the duo the essence of old souls, more like elder statesmen than the millennials they presumably are. Photography by Lesha Lich, Styling by Ahmed Zaher Hassan Where KML takes a bold step forward is in its vision of masculinity. In a world where men's fashion often recycles familiar formulas – tailored suits, sharp lines, the ubiquitous statement tee and athleisure ('casualisation as the end of humanity,' they joke) – KML offers something subtler, more introspective and altogether surprising. Nipped-in waists attenuated with thick obi-style leather belts, cropped midriff-baring jackets and voluminous skirts coaxed into place with generous draping – made practical with pockets, a utilitarian feature already appreciated by the women eager to raid this collection. Yes, we're talking menswear. It's an androgynous vision rendered in a restrained palette of black, white and muted beige, a colour-scheme and silhouette that trades bravado for nuance. Photography by Lesha Lich, Styling by Ahmed Zaher Hassan If it comes across as prolific, or groundbreaking, it shouldn't. 'Clothes – libās in Arabic – are inherently without gender,' Ahmad explains. The word's etymology opens the door to a freer interpretation of dress, unburdened by modern constructs. 'What fascinates me most is the origin of their ideas,' writes Massimiliano Di Battista, CEO of M+A Talent Group, who first encountered KML at the Saudi 100 Brands collective show in Paris. 'They reinterpret traditional Saudi ceremonial clothing for contemporary times. Their line is deeply modern yet rooted in history and craftsmanship in such an unconventional way.' That tension between heritage and reinvention has drawn international attention. This summer, Selfridges will stock a select edit of KML, a milestone that speaks to a shifting global curiosity about fashion that defies borders and binaries. Photography by Lesha Lich, Styling by Ahmed Zaher Hassan Yet, Ahmad and Razan challenge the assumption that expressive or fluid fashion for men is a Western novelty. In fact, across Saudi Arabia, men have long worn eyeliner, floral crowns, silver jewellery, colourful skirts unapologetically and without questioning their manhood. The Qahtanis, one of the oldest tribes in the Kingdom and known as the Flower Men, famously adorn their head-dresses with blooms, not as acts of rebellion, but as expressions of identity and unity with nature. 'These flowers are there, these colours are there. Why not wear them?' Ahmad asks, rhetorically. What's curious is how different generations receive KML's work. For older Saudis, the garments feel familiar, an echo of fading traditions. For younger audiences, they read as edgy, even avant-garde. This tension reveals how much Western influence has reshaped regional norms around gender and style. But for the Hassans, the intention isn't to provoke shock value. 'We're not rebelling,' Ahmad says. 'We're rejecting the rebellion that tried to erase our own traditions, re-writing them through a reflective lens.' Photography by Lesha Lich, Styling by Ahmed Zaher Hassan With the LVMH Prize experience behind them, what's next for the tireless duo who thrive on a meticulous process rooted in research, documentation and unflinching editing? 'Colour – there's a whole universe behind it,' Razan muses. It's a new realm they're eager to explore, particularly through cultural depth and representation, sure to be tinged with symbiotic meaning. They're also expanding beyond garments, 'a continued expansion of adorning the body in different 'covers' – jewellery, accessories, bags…things that we feel are still missing to complete the full story.' For both, the LVMH Prize offered more than visibility. 'It was a reminder that relevance isn't exclusive to one culture. When something is made with intent and beauty, it carries its own universality,' Ahmad reflects. 'If you'd asked me four years ago, I would have said I designed to set us apart. Today, I see it differently. It's what makes us similar, what makes us unified – that's more powerful. It's where the conversation begins.' Photography: Lesha Lich Styling: Ahmed Zaher Hassan Senior Fashion Editor: Mohammad Hazem Rezq Visuals Editor: Jody Fathalla Models: Jamal Sultan Alsaleh and Tala Alakeel
Vogue Arabia
28-05-2025
- Entertainment
- Vogue Arabia
Inside Vogue Arabia's June Saudi 2025 Issue
Photo: Nora Alharthi by Fahad Al Shanbari near Jabal Cafe, Taif A new wave of Saudi creatives and entrepreneurs take centre stage in this month's issue. Photographed in the predominantly-male rose fields of Taif, Nora Alharthi personifies the kingdom's progressive path, having created a luxury e-commerce business stemming from the roses native to her hometown. In fashion, we speak to Ahmad and Razan Hassan, the founders of fashion label KML, which was a semi-finalist for the 2025 LVMH Prize. Ahmad Hassan, Photographed by Lesha Lich, Styled by Ahmed Zaher Hassan Photography by Lesha Lich, Styling by Ahmed Zaher Hassan In music, we catch up with Ramadan Alharatani, the CEO of MDLBEAST, which has organised massive, multi-genre music festivals in the Kingdom, and DJ Nooriyah, who is carving out a space for SWANA sounds in London, and will be performing at Glastonbury Festival 2025. Photographed by Stef Galea, Styled by Natalie Westernoff Photographed by Stef Galea, Styled by Natalie Westernoff Just in time to inspire your summer holiday itineraries, entrepreneurs with Saudi roots share their favourite spots in cities such as Milan and Los Angeles. Also worth incorporating into your travel plans are two events that just kicked off in Europe, and will be running throughout the summer: in Paris, we get a first look at The Mystery of Cleopatra exhibition opening this month at the Arab World Institute, and in Venice, we meet the visionaries behind the Arab pavilions at the Venice Architecture Biennale 2025.
Arab News
23-05-2025
- Entertainment
- Arab News
Fashion trailblazers honored at Riyadh awards
RIYADH: Women's Wear Daily, in collaboration with the Saudi Fashion Commission, honored several creatives at an awards ceremony in Riyadh on Thursday. For the latest updates, follow us on Instagram @ Alessandro Sartori, artistic director of Zegna, was named International Designer of the Year, while Matteo Tamburini, creative director of Tod's, received the International Brand of the Year award. Patrick Ta, founder of Patrick Ta Beauty, was named International Beauty Innovator of the Year, and Glow Recipe was awarded International Beauty Brand of the Year. Additional awards presented by the Saudi Fashion Commission celebrated the achievements of several Saudi Arabia brands and individuals. Rawan Kattoa was named Fashion Stylist of the Year, Rayyan Nawawi received the Fashion Photographer of the Year award, and KML was recognized as Menswear Brand of the Year. In addition, Abadia was named Womenswear Brand of the Year, Charmaleena as Jewelry Brand of the Year, and the Elite Model Honorary Award for Model of the Year went to Talida Tamer. The judging panel included industry leaders Law Roach, Amanda Smith, Burak Cakmak, Xavier Romatet, Mohammed Aldabbageh, and Mai Badr. In her acceptance speech, Kattoa said: 'This award means so much to me. It represents a journey that started as a freelancer ... I want to thank my husband for his support, my parents for their inspiration, and all the creatives who made this possible.' Ahmad Hassan, co-founder of KML, said: 'This is such an award for the first time ... It means the world to us. Being recognized in our home country makes this achievement even more special.' 'We were born and raised here, and to have our work celebrated in Riyadh is a dream come true. This award inspires us to push boundaries and innovate in our designs,' he added. Reflecting on the evolving fashion scene, Hassan said: 'Events like this showcase the incredible talent we have in Saudi Arabia. It encourages us to keep creating and to elevate our craft.' 'We are committed to telling our story through fashion and contributing to this vibrant industry,' he added.
Hindustan Times
14-05-2025
- Business
- Hindustan Times
Uttarakhand to use satellite imageries, drones to assess plantation success
Dehradun: The Uttarakhand forest department has introduced new initiatives including the use of satellite imagery and drones to assess the success of plantation drives. This comes months after a Comptroller and Auditor General (CAG) report revealed irregularities in the use of funds intended for forest conservation. Until now, the number of trees planted were counted after physically visiting the sites. 'There are several satellites covering Uttarakhand, providing data at various resolutions. Using this satellite data, we can monitor plantations and activities like soil and moisture conservation to evaluate their impact. This is the first time such a technology-driven system is being used for plantation monitoring,' Rahul, chief conservator of forests (monitoring, evaluation, IT, and modernisation) said. Drones will be used to assess the overall impact of the plantation efforts. 'For instance, if a moisture conservation activity has been undertaken, drones help us determine the change in the moisture regime and the increase in vegetation in that area. Drones provide an accurate assessment,' he said. Also, all plantations will be tracked using GPS. 'For every plantation site, we create a digital file in KML format (a file used to display geographic data in Earth browsers like Google Earth). We then superimpose this digital file onto satellite imagery, which helps us determine the actual area of the plantation, whether the site was suitable, and what impact it has had,' Rahul said. Also Read: India's forest, tree cover at 25.17% due to large scale plantation works: Govt to UN 'These initiatives will be effective in evaluating plantation success and eliminate the possibility of false plantations,' he added. Aiming to bring greater transparency to plantation efforts, Uttarakhand forest minister Subodh Uniyal said, 'We must maintain a balance between the economy and the environment. Whenever forest land is diverted for roads or other development projects, we are required to provide compensatory land in return. Uttarakhand is the only state in the country where forest cover has increased after the formation of the state. Forests are important and so is development.' The CAG report, tabled in the state assembly during the budget session in February, said that the funds meant for compensatory afforestation under compensatory afforestation fund management and planning authority (CAMPA) were diverted to buying iPhones, kitchen appliances, building renovation, even fighting court cases. The report pointed out that 'at the divisional level, ₹13.86 crore were diverted/ expended on inadmissible activities. This included renovation of forest department buildings and purchases of iPhones and computers.' Also Read: Uttarakhand forest department releases report on 2,147 conserved plant species The annual average expenditure under CAMPA in Uttarakhand is around ₹ 300 crore. In March, the state forest department started the process of hiring an external agency for better implementation and transparency in CAMPA activities. However, the officials said they had started the process to hire the agency last year, even though an expression of interest was issued on March 25.
Yahoo
06-03-2025
- Entertainment
- Yahoo
LVMH Prize Showroom Heralds a New, Culturally Diverse Approach to Menswear
PARIS — Delphine Arnault likes to say that the LVMH Prize for Young Designers is a good barometer for the industry at large. 'It's really like taking a photograph of fashion at a given moment in time,' said the executive, who is the force behind the prize and a key talent scout at LVMH Moët Hennessy Louis Vuitton. 'Each year there is a slightly different message.' More from WWD President Trump Goes Italian and Politicians in Pink: Analyzing Capitol Hill Fashion Lucy Hale Is Ready to Fly to 'White Mars' EXCLUSIVE: Moët & Chandon and Pharrell Williams Team for Limited-edition Champagne Collection After mirroring the rise of genderless fashion and a growing focus on sustainability, the showroom for this year's edition heralded the arrival of menswear from new cultural horizons, with the 20 shortlisted brands including for the first time candidates hailing from Egypt, Ghana and Saudi Arabia. It also reflected the emergence of the Middle East as a pool of design talent, with the presence of Egyptian-born, Qatar-based Yasmin Mansour, Saudi Arabia's KML and Lebanese brand Renaissance Renaissance. The 20 labels are competing for a grand prize of 400,000 euros and mentorship by LVMH teams in such areas as sustainable development, communication, copyright and corporate legal aspects, marketing, manufacturing and the financial management of a brand. Ahmed Hassan, who founded KML in 2022 with his sister Razan, showed in Paris last June as part of the Saudi Fashion Commission's Saudi 100 Brands initiative. The label aims to redefine menswear for a new generation of luxury clients. 'We live in a very interesting time in Saudi where in the past 30 years we've been buying a lot, and I think now it's the time where we do fashion that is more culturally relevant to us,' Hassan said. 'We're trying to bring some of the fading traditions, such as men wearing skirts, for example.' His elegant monochrome pieces are often transformable. The top of a black coat can be detached to make a cropped jacket, while a white shirt features a button-off back. His skirts come in narrow or fuller styles, but not all customers are ready to adopt them. 'The conversation is very interesting, because when we see the older generation and the younger generation, they love our work,' he said. 'The older generation, they relate to it, they've seen it before, and the younger generation think it's cool and sexy and they want to experiment with it. Our generation is the generation that forgot its tradition, in a way.' The brand, sold exclusively at its studio in Riyadh, wants to expand into accessories. For Hassan, the LVMH Prize is an important step in that direction. 'Recognition is one thing, and it is the most important thing for us at this stage, and then also connecting with the right people to execute, to manufacture, to develop,' he said. David Boye-Doe, the founder of Ghanaian brand Boyedoe, said funding was crucial to scale up his genderless label, but he also saw the advice he could glean as crucial. 'We want to produce in a more ethical way, so mentoring is one of the key areas,' he said. 'Without the correct mentorship and collaboration, you abuse the money.' Some of his pieces, including a burgundy-colored coat with fringed trim, are made from fugu, a handwoven fabric originating from the northern parts of Ghana. It usually comes in vivid colors, but the label makes darker versions that it thinks are better suited for an international market. 'We blend Afroluxurious heritage with ethical elegance,' said Boye-Doe. 'It's African luxury: our way of interpreting luxury.' Also among his designs were pants assembled from the waistbands of reclaimed jeans, and a coat pieced together from the leftover inseams. The designer usually sources items from Accra's sprawling Kantamanto market, Africa's largest secondhand clothing market, which burned down on New Year's Day. 'No matter the challenges, even losing our source of getting those things, we focus more on how we thrive,' he said. 'Even to be here, to be selected as one of the first Ghanaian brands, is a testament of how we have thrived over the years.' The label, which has shown at Lagos Fashion Week and Portugal Fashion, is also present at the Tranoi trade show in Paris this season. Boye-Doe sees his role as clearing the way for other emerging African luxury brands. 'We call ourselves the underdog, where people are not expecting that this thing is coming,' he said. 'Because of us, other Africans, other Ghanaians can see that it can be done.' Even in markets like the United States, designers are challenging established ways of making and selling men's clothes. 'My business model is all bespoke custom orders,' said Josh Tafoya. The Parsons graduate moved from New York to his native New Mexico during the pandemic and has since been exploring his family tradition of weaving. 'It's a lot of Spanish influence, Mexicano influence and Genizaro,' he explained, referring to the name given to detribalized Native Americans in the Southwest starting from the 17th century. 'My family comes from a lineage of weavers, both sides, and I'm trying to bring that culture back. It's slowly dying in New Mexico,' added Tafoya, who had brought with him a nearly century-old piece woven by his grandmother. His genderless pieces incorporate traditional elements like Mexican serape stripes, or Chimayo-inspired chevron motifs, but he imbues the designs with his own theatrical flair in a bid to challenge perceptions of Southwestern identity. 'I'll play into campy little motifs, like gunmetal for the Bandito bullet suits. And I'll play a lot with Western denims, but also with metallic fringes, because cowboy is a little flamboyant, it's funny,' said Tafoya. 'When I went to Parsons, we were taught American fashion, and it was sportswear and the traditional brands,' he continued. 'That's not my vision of American fashion. This is my vision. This is the oldest part of the Americas.' At a cocktail party on Wednesday, Maria Grazia Chiuri, creative director of womenswear at Dior, was among those who stopped at Tafoya's stand. Also making the rounds was Sarah Burton, who was preparing to show her debut collection for Givenchy on Friday and will be joining the LVMH Prize jury as a result. The chic crowd also included Sidney Toledano, senior adviser to LVMH chairman and chief executive officer Bernard Arnault; Tod's Group's chairman Diego Della Valle, who lingered at the Torishéju booth; designer Gabriela Hearst; image architect Law Roach; milliner Stephen Jones, and models including Natalia Vodianova, Elle Macpherson, Toni Garrn and Paloma Elsesser. LVMH Prize ambassador Jaden Smith said he was 'blown away' by the selection. 'Everybody here right now is at the forefront of fashion, innovation and design,' he said. The rapper and actor, who is known for his bold choices on the red carpet and has his own clothing line, Msftsrep, demurred when asked if he had any tips for the young talents. 'If anything, I'm here to learn things from everybody who's here,' said Smith. 'I would love to study with them and learn things from them.' Fellow ambassador Lily James described the excitement of discovering the new voices shaping fashion. 'Hearing about their stories, their identities, them sharing their heritage and cultures through their fashion and subverting something traditional and turning everything on its head — honestly I feel overwhelmed by the talent in this room and incredibly inspired,' she said. James advised the finalists to keep honoring what makes them 'unique, individual and authentic, because there's only one of you and that's your superpower.' Meanwhile, Delphine Arnault praised the resilience of the designers who have struck out on their own despite the challenging market conditions for independent brands. 'It takes a lot of courage, a lot of passion, and they put themselves on the line,' she said. 'All the designers who are here could very well be working in the studios of large brands, so you have to have a very strong entrepreneurial side. Most of them have to do the work of 10 people on their own or with just one other person.' Danial Aitouganov, for example, left his job as menswear designer at Louis Vuitton under Pharrell Williams last summer to focus on Zomer, the label he cofounded with stylist Imruh Asha. The Dutch designer has eight years of experience working for brands including Vuitton, Chloé and Burberry, but admitted it was a challenge juggling design duties with everything else. 'We are small, so I'm learning as we go, and learning production and finances was really not on my résumé,' he said. 'I would love to have guidance in that.' Cynthia Merhej, the designer behind the Renaissance Renaissance label, has faced more challenges than most, steering her brand through the coronavirus pandemic, a huge explosion that destroyed swathes of Beirut, economic crisis and most recently, the conflict between the Lebanese militant group Hezbollah and Israel. 'I'm very happy to say that now the company is finally back in Beirut. We've been producing everything there for the last two years,' said Merhej, who had briefly moved some operations overseas. 'A lot has now changed in terms of the landscape politically. We don't know for the worse or for the better, but what we know is now at least it's a bit more stable,' she reported. 'It's really hard to run a business when every day you don't know if there will be a currency.' Having made the semifinals in 2021, when the event was held online due to the lingering effects of COVID-19, she was happy to attend the showroom in person. 'It was obviously incredible to be nominated the first time, but to come back and actually have face-to-face contact, and for people to be able to physically touch the garments and to see them, it makes a huge difference,' Merhej said. 'During COVID, it felt a bit isolated because we didn't actually get to meet each other. It didn't feel real because I didn't see the other people's collections. It's really nice to be back.' 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