Inside the Riyadh Villa of Saudi Entrepreneur Nojoud Alrumaihi
Hospitality, warmth and generosity, believes Alrumaihi, are embedded in her culture and way of being. 'It extends beyond the home and into how we gather, share, dress and even celebrate. It's a culture of presence, not performance,' she says. Her charisma and creativity come across seamlessly on social media, where she shares snippets of her statement styles. A sculptural white and gold gown by Stephane Rolland and colour-blocked Rosie Assoulin ensemble appear alongside a dreamy Fendi baguette embellished with floral beadwork and new-season Valentino
Garavani bag dotted with cherries. 'I gravitate towards silhouettes that honour the classics, but I always find a way to weave in an unexpected detail, whether it's an offbeat colour, an artisanal piece or a story behind the fabric,' she shares. 'I dress emotionally and intuitively.'
Photography by Tamara Hamad
Championing Saudi designers' aesthetics – such as Arwa Al Banawi's unapologetic edginess, Abadia's timeless elegance and the bold patterns and colours of Nasiba Hafiz, Alrumaihi sees her heritage as the foundation of her visual identity. 'It gives my style depth and meaning. I'm deeply proud of where I come from, but I reinterpret it through a contemporary lens,' she explains. 'A traditional motif can live on in a sculptural cut, or a modest silhouette can be expressed through modern tailoring. It's less about contrast, more about continuity.'
Photography by Tamara Hamad
Photography by Tamara Hamad
This harmony is mirrored throughout Alrumaihi's home. One of her most treasured elements on display is a carpet that once belonged to the late HRH Crown Prince Sultan bin Abdulaziz. 'It was originally displayed in an art studio and I was instantly drawn to its history and presence,' recalls Alrumaihi, who also owns a rare copy of Life magazine featuring King Abdulaziz on its cover. This is displayed on a mantelpiece where, in place of a fireplace, there's an amalgamation of art and fashion tomes. Elsewhere, a gallery wall comprises a cluster of prints by Saudi artist Ethar Balkhair, who centres diversity and women's empowerment in her work. Faceless figures with exaggerated silhouettes and playful proportions are draped in fashion- forward garments, bringing depth and colour to Alrumaihi's walls. 'Her work explores cultural motifs and Middle Eastern fashion in a way that feels both nostalgic and contemporary,' explains Alrumaihi. 'Each piece carries a story and together, they form a wall that speaks to heritage and identity.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Vogue Arabia
a day ago
- 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
a day ago
- Vogue Arabia
Inside the Riyadh Villa of Saudi Entrepreneur Nojoud Alrumaihi
Hospitality, warmth and generosity, believes Alrumaihi, are embedded in her culture and way of being. 'It extends beyond the home and into how we gather, share, dress and even celebrate. It's a culture of presence, not performance,' she says. Her charisma and creativity come across seamlessly on social media, where she shares snippets of her statement styles. A sculptural white and gold gown by Stephane Rolland and colour-blocked Rosie Assoulin ensemble appear alongside a dreamy Fendi baguette embellished with floral beadwork and new-season Valentino Garavani bag dotted with cherries. 'I gravitate towards silhouettes that honour the classics, but I always find a way to weave in an unexpected detail, whether it's an offbeat colour, an artisanal piece or a story behind the fabric,' she shares. 'I dress emotionally and intuitively.' Photography by Tamara Hamad Championing Saudi designers' aesthetics – such as Arwa Al Banawi's unapologetic edginess, Abadia's timeless elegance and the bold patterns and colours of Nasiba Hafiz, Alrumaihi sees her heritage as the foundation of her visual identity. 'It gives my style depth and meaning. I'm deeply proud of where I come from, but I reinterpret it through a contemporary lens,' she explains. 'A traditional motif can live on in a sculptural cut, or a modest silhouette can be expressed through modern tailoring. It's less about contrast, more about continuity.' Photography by Tamara Hamad Photography by Tamara Hamad This harmony is mirrored throughout Alrumaihi's home. One of her most treasured elements on display is a carpet that once belonged to the late HRH Crown Prince Sultan bin Abdulaziz. 'It was originally displayed in an art studio and I was instantly drawn to its history and presence,' recalls Alrumaihi, who also owns a rare copy of Life magazine featuring King Abdulaziz on its cover. This is displayed on a mantelpiece where, in place of a fireplace, there's an amalgamation of art and fashion tomes. Elsewhere, a gallery wall comprises a cluster of prints by Saudi artist Ethar Balkhair, who centres diversity and women's empowerment in her work. Faceless figures with exaggerated silhouettes and playful proportions are draped in fashion- forward garments, bringing depth and colour to Alrumaihi's walls. 'Her work explores cultural motifs and Middle Eastern fashion in a way that feels both nostalgic and contemporary,' explains Alrumaihi. 'Each piece carries a story and together, they form a wall that speaks to heritage and identity.'
Vogue Arabia
a day ago
- Vogue Arabia
This Woman Becomes First Person to Walk Across Saudi Arabia from North to South
What new perspective did walking through AlUla with archaeologist Wissam Khalil offer? Wissam said, 'Walk with an archaeologist and you will never look up again.' He was right! He found artefacts just lying on the ground. At Dadan, we found a shift schedule carved into stone—a kind of ancient timesheet. It was a powerful reminder of how connected we are to our ancestors. What have your camel companions, Lulu and Juicy, taught you? They're crucial team members—and full of personality. Camels are clever, funny, and sensitive. They'd start fast in the mornings, so we had to jog to keep up. They also love snacking, often yanking me toward tasty bushes. I've learned patience and humour from them. Walking 930km over seven weeks is a major feat. What were your biggest challenges? Blisters. My feet blistered badly on day one and worsened. I spent three weeks in real pain. Mentally, I had to block it out and keep going. It was tough, but I managed. You speak fluent Arabic and have years of experience in the region. How does this journey reflect changes you've seen in Saudi Arabia? From an outsider's perspective, the transformation is incredible. Women's roles are evolving fast—not just in dress codes, but in deeper ways. I've met so many Saudis who are proud of their country and optimistic about the future. It's inspiring. You explored environmental projects like species reintroduction. How important is conservation in this region? It's clear that significant investment is being made in conservation. I applaud those efforts—they reflect a broader vision for sustainable development and respect for nature. In today's digital world, what role does long-form storytelling still play? People crave connection. Following a real journey—even digitally—is like watching a serial drama. Will my feet hold up? What's Juicy going to do next? Whether it's a TikTok or a long article, people engage with stories that unfold over time. With Stage Two starting in October, what are you most looking forward to—and what will you do differently? I can't wait to see my team again—Shaya, Lulu, and Juicy. I'll definitely prepare my feet better and invest in better socks! But mostly, I'm looking forward to more days of discovery.
