Inside Kim Kardashian's Luxe Closet: Where Boots and Bags Get VIP Treatment
Kim Kardashian and epic fashion fame are synonymous with one another. The American star and socialite never fails to leave everyone's jaws dropped with her unique glam picks, which make everyone wonder what actually goes on behind the scenes in her vanity.
Well, the Skims owner has now finally unveiled her secrets as she gave a scintillating glimpse of her oh-so-stunning closet cum vanity space.
Ambient lights for the soft glow
First up, one cannot miss the perfect ambient lighting in her vanity space. With perfectly whitewashed walls, the soft lights embedded in the ceiling offer the ideal vibe for dressing up.
Moreover, these are also crucial for clicking those stunning pictures of the diva, which break records on social media.
Maximum floor spacing
One of the most crucial takeaways from Kim's closet is the maximum floor space that she has devoted to the area.
Whether it's those special dramatic looks or even the simplest outfits, space is required for last-minute fittings so the Met Gala veteran does not bump into other objects or furniture. Moreover, keeping the floor free and open also enhances the appeal of the vanity, making it appear more spacious.
Neatly arranged organisers
One of the most popular American socialites, Kim Kardashian's wardrobe is a dream for many. However, the star has ensured that she gets all her things handy with a neatly organised wardrobe.
Her closet features a wall-mounted and high wardrobe space, where each segment is dedicated to a different set of necessities and outfits. Moreover, she even has a designated space for her shoes and other accessories.
Mirrored walls
One of the most interesting highlights of Kim's closet is surely the mirror-fitted walls. Well, these not only work as something useful for her to gaze up at but also act as a partition between two segments of her closet.
In the pictures, one can catch a glimpse of this other section inside her closet, where she stores her bags and arm candies.
Compact seating options
Kim Kardashian has incorporated some modern, sleek, and compact seating options into her vanity. These can also double up as stools to reach higher shelves on her vanity.
While she is an A-listed diva who is busy with her schedule, these stools are also useful for moments when she could sit down and pose for the camera or even get a touch-up of her makeup.
Gold and cream-toned neutral theme
The entire design of Kim Kardashian's closet seems to have been designed on a running colour palette of gold, cream, and neutral tones. With light-coloured vinyl flooring, her wardrobe and other furniture pieces have gelled well with a shade of gold.
She has used golden accents for the handles and doorknobs, while in-built and fitted golden lights inside her wardrobe accentuate the appeal of the space.
Portable clothes rack for easy access
Like most celebs, Kim Kardashian goes through numerous trials of her outfits before selecting the final one. To help her in these moments, she has placed some portable clothes racks where the outfits can be hung for easy access.
Having wheels and being made of sturdy metal, these help give a complete and closer look at her outfits before she chooses one.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
News18
32 minutes ago
- News18
Farah Khan Posts Pic From Maldives Holiday; Malaika Arora Asks 'Where Is Dilip?'
Last Updated: Farah Khan vacationed in the Maldives with her cook Dilip, who is popular on her YouTube channel. Malaika Arora humorously inquired about Dilip in a photo. Farah Khan recently jetted off on a holiday in the Maldives. She was accompanied by her cook Dilip, who appears alongside the filmmaker in all of the videos on her YouTube channel. She recently posted a solo photo from her vacation, which prompted a hilarious response from Malaika Arora. Dressed in a white T-shirt with American actress Farrah Fawcett's photo, Farah Khan penned a hilarious caption. '1farah.. 1farrah.. #maldives," she wrote. Malaika was one of the first ones to react to the photo and ask, 'But where is dilip ??? Swimming ??? Sunbathing ???" Take a look: For the unversed, Farah, who visits celebrity homes with her cook, Dilip, to prepare their signature dishes, also paid a visit to Malaika's mother's house. Social media sensation Dilip had a major fanboy moment upon interacting Malaika up and close. Recently, Farah and Dilip were clicked at the Mumbai airport, gearing up for what is said to be the latter's first-ever international trip. Overjoyed, Dilip expressed his excitement by distributing chocolates to the paparazzi and even posed solo after being encouraged by Farah, who cheered him on in a fun, lighthearted moment. When asked how he was feeling, the smiling Dilip replied, 'Bahot acha lag raha hai," charming everyone with his heartfelt simplicity. Following the brief photo-op, Farah bid the paparazzi goodbye and handed them the box of chocolates as a thoughtful parting gesture. In another appearance last week, Farah and Dilip were seen engaging in fun interaction with the paps. It all started when a paparazzo complimented Farah and Dilip for their cooking videos, saying, 'Arey uncle aap viral ho gaye, maloom hai? Bohot viral ho gaye ho (Uncle, you have become a viral sensation, do you know that)." While Dilip laughed at his remark, Farah jokingly reprimanded him, replying, 'Aye, uncle kisko bola. (Hey, who are you calling Uncle?)" which left everyone in splits. Dilip, Internet's latest obession, is lauded by fans for his funny remarks and simplicity. Owing to his growing popularity, he even shot for an ad with Shah Rukh Khan. First Published: June 08, 2025, 20:05 IST
&w=3840&q=100)
First Post
3 hours ago
- First Post
Hikaru Nakamura's reaction after Armageddon blunder against Wei Yi goes viral; here's why
American grandmaster Hikaru Nakamura was heartbroken after losing the Armageddon tiebreak to Wei Yi at Norway Chess 2025. Check out the blunder he made in the crucial match that cost him a top 3 finish in the tournament and elicited the expression. read more American grandmaster Hikaru Nakamura looked heartbroken after losing his Armageddon game against China's Wei Yi in round 10 of Norway Chess 2025. A video from the match went viral, showing Nakamura sitting with a disappointed expression and a broken-heart emoji added by the official social media handle of the tournament. What's the reason behind Nakamura's expression? The classical game between the two ended in a draw, but it was the Armageddon tiebreak where Nakamura made a big mistake. Nakamura captured the pawn on a4 with his knight, which pulled the knight away from the centre and weakened his defense. He couldn't recover from the mistake and it ended his campaign at Norway Chess. According to Stockfish, the correct move should have been knight to e5. It would have kept his position stronger by keeping his knight closer to his king. This wrong move gave Wei Yi the upper hand and he took full advantage to win the game. Watch Nakamura's viral reaction below. STORY CONTINUES BELOW THIS AD We've seen every expression on Hikaru's face, except this one 💔 #NorwayChess — Norway Chess (@NorwayChess) June 6, 2025 However, Nakamura had no regrets after the match and his statement to the media suggested that he is now focused on the Candidates Tournament and a potential qualification for the World Chess Championship. 'I started having the delusions of grandeur, thinking that I was about to win this game! This means I end the classical portion with a +1 score, I gain a couple of rating points, and I further cement my status as the world number-two player.' Carlsen wins Norway Chess 2025 The Norway Chess 2025 came to a conclusion on Friday, 6 May. Five-time world champion Magnus Carlsen secured his record-extending seventh title in dramatic fashion. Carlsen, who was held to a draw in his classical game against Indian grandmaster Arjun Erigaisi, went on to lose the Armageddon tiebreak. Despite the setback, he picked up 1.5 points from the round, finishing the tournament with a total of 16 points. Fabiano Caruana and D Gukesh, who were both in contention going into the final round, finished second and third, respectively. Caruana ended just 0.5 points behind Carlsen. World Chess Champion Gukesh Dommaraju fell short after losing his classical game to Caruana in the final round. Despite the heartbreak, there was one positive for Gukesh as he defeated Carlsen in an earlier round. Gukesh went on to describe it as his best moment from the tournament.
Mint
3 hours ago
- Mint
Two films show our present is the future we once feared
If Hindi films often turn to dystopia to grapple with technological dread, then filmmakers Udit Khurana and Aranya Sahay chart a more unsettling course—rooting their narratives in real-life premises. For Khurana, the starting point for Taak lay in 2020 headlines that detailed how Chandigarh's sanitation workers were being forced to wear GPS-enabled tracking watches under the guise of efficiency. Sahay's Humans in the Loop on the other hand, draws from reporting that illuminated the invisible workforce sustaining artificial intelligence: indigenous women employed in data-labelling offices set up by tech companies across rural India. Both films don't imagine the future as much as reveal the overlooked realities of the present where the burdens of surveillance and automation fall most heavily on marginalised lives. Since its premiere at Mumbai MAMI Film Festival last year, Sahay's 72-minute feature debut has had an award-garlanded festival run, most recently winning the Grand Jury Prize at Indian Film Festival of Los Angeles (IFFLA) in May. Set in Jharkhand, Humans in the Loop follows Nehma (Sonal Madhushankar), a tribal woman who returns to her ancestral village after a separation. In order to gain custody of her teenage daughter and infant son, Nehma—a college graduate—takes up a job as a data-labeller at a nearby centre, effectively feeding information into systems that power an American tech company. Alongside other women hunched in front of their computer screens, Nehma spends her time labelling images of crops, weed and pesticides. On some days, she marks parts of the human body—right arm, left knee—so that when the algorithms are eventually shown a hand or a leg, they know what they are looking at. And on others, she is training it to recognise a football foul or differentiate between turmeric and ginger. It's slow, repetitive work, but essential. For all its promise, artificial intelligence can't build itself. Instead, it is realised through countless hours of 'ghost work", a term coined by American anthropologist Mary L. Gray to address the kind of underpaid back-end labour that propels the artificial intelligence revolution. Yet as Nehma delves deeper into the job, she begins to see the limiting worth of her own intelligence. Her American clients don't define her labour as knowledge—even though the job routinely necessitates her judgement and insight. When she refuses to label a caterpillar as a pest, arguing that it only feeds on rotting parts of the plant thus protecting it, her manager receives a complaint about poor data quality. Even when Nehma likens artificial intelligence to a child, saying it will learn the wrong things if fed the wrong input, she is told to stop using her brain. 'If the client says it's a pest, it's a pest," her supervisor snaps. A graduate of Film and Television Institute of India (FTII), Sahay directed short films and assisted Patrick Graham and Imtiaz Ali before helming Humans in the Loop. With the film, Sahay set out to examine how new, cutting-edge tech still echoes old hierarchies, prejudices, and inequalities. As Humans in the Loop suggests, when algorithms are built almost entirely on data sanctioned by the West, marginalised voices and knowledge systems disappear and progress becomes just another name for exclusion. With his directorial debut Taak, Khurana, much like Sahay, turns his gaze toward the politics of technology—how it becomes a tool that weaponises and perpetuates class and gender divisions in society. Like Humans in the Loop, the action in Taak, which also showed last year at MAMI Mumbai Film Festival, is located in the workplace. The 39-minute short revolves around Shalini (a magnetic Jyoti Dogra) and Komal (Ambika Kamal), two former wrestlers now working as bouncers at a testosterone-soaked Delhi nightclub. After a serious security breach one night, the club's management responds with a new rule: all staff members must now wear smartwatches, supposedly for safety—but clearly for control. Held accountable for her team's lapse, Shalini—the older of the two women—is pressured to ensure that no one resists the new rule. She complies immediately, believing the management's pitch that the watches are there to boost efficiency with location-tracking and attendance-clocking. But Komal, younger and more wary, sees it for what it really is: constant surveillance. She's hiding from a violent past and her safety depends on staying unseen. With the watch, which has facial recognition built into it, being found becomes all too easy. Komal's resistance ends up as a sore point between the two. But more crucially, Taak underlines, it also turns Shalini into both a victim of constant monitoring and the oppressor expected to enforce it. In that, Taak reveals a disturbing truth: in today's digital world, the working class is often made complicit in their own subjugation. Khurana, who previously shot Chhatrapal Ninawe's Ghaath (2023) and Sumanth Bhat's Mithya (2024), transforms the nightclub and the cramped bylanes of the Capital into a sharp metaphor for a surveillance state. A sense of danger pervades every exchange, every gesture in the film. By interweaving the plot with CCTV footage, the filmmaker employs sound and image to heighten this sense of entrapment and alienation—creating the feeling of being cornered in plain sight. In a way, most films consumed by the idea of a dystopian future often get caught up in their own dazzling visions. So it's oddly moving to see two independent films—made outside of the constraints that plague the Hindi film industry—resist framing technology's threats as a sudden catastrophe. Instead, they lavish attention on structures and spaces designed to ensure that technology's grip tightens little by little, settling into workplaces, into homes, and into bodies. Few Hindi films respond to our anxieties as they unfold. Taak and Humans in the Loop go one step further and remind us that our present is the future we once feared. 'Humans in the Loop' and 'Taak' screen at the New York Indian Film Festival this month. Poulomi Das is a freelance film and culture writer based in Mumbai.
