The studio will also serve as a “more affordable entry point”, Mohammed said. T-shirts that commemorate Juneteenth, the annual celebration marking the end of slavery in the United States, will soon be released for $195.
If Khiry Studio looks remarkably broad, that’s exactly the point. Mohammed bills him as “the forward-looking arm” of his brand, which since its launch in 2016 has been supplied by Bergdorf Goodman, Saks Fifth Avenue and Farfetch. The designer is excited to see what he discovers through the projects, without the pressure of “line plans” and other white-collar performance metrics. “Who knows, maybe I’ll decide to become a ceramist!”
Mohammed’s voice crescendos as he talks about developing stickers, wax candles, music videos and, “so, like, okay, now the album is coming!” These are not illusory dreams and aspirations, he assures me. “These are all things we are working on at the moment,” he promises, without flinching.
Diversification makes sense. Fashion designers who use a fluid, multidisciplinary approach to creativity are increasingly common. Building vibrant communities and worlds for buyers is more important to young designers than aggressively putting themselves at the center of the narrative. The late Virgil Abloh was known for doing everything from DJing to architecture to car design. American designer Tom Ford wrote and directed the acclaimed films A single man and Nocturnal animals. Casey Cadwallader, creative director of Mugler, recently co-directed a video of Megan Thee Stallion. Muhammad wants a similar degree of freedom. As the Phillips Exter and UPenn alum explains, “I’ve been surprised by how often people say, ‘No, this it’s your thing. Why don’t you stick to that? The studio is the antithesis of that. I have a painting idea, let’s try it!