Saudi Label KML Blends Tradition and Modernity in Bold New Fashion Vision

Vogue Arabia

4 days ago

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