< Previous98 094-107_VISION_VOL2_EMERGE.indd 9819/04/2024 15:5199 Saudi Arabia is home to some of the most forward-thinking fashion brands. But, in line with the expansive mindset of the Kingdom, many of them are preparing to embark on a global adventure, including streetwear label 1886 1886 Creativity isn’t something that can be faked – or better yet, manufactured by AI. That was the clear message that Saudi-born streetwear brand 1886 showcased during its debut at the inaugural Riyadh Fashion Week. Inspired by the Industrial Revolution, its latest collection is one that pays homage to “hardworking individuals across diverse fi elds who are not afraid to get their hands dirty,” the brand stated post-show. At its core, creative conversations were exactly how 1886’s roots were formed seven years ago. Friends and co-founders Fahad Al-Jomiah and Khalid Aljammaz met at university in London and discovered a shared passion for design and creativity. Manifested on the walls of their student apartments in the UK’s capital, 1886 became a reality when the designers returned to Riyadh post-university. But why were the duo specifi cally intent on a streetwear brand? Plain and simple: it’s how they’re creating the future of fashion in Saudi Arabia. “The current streetwear landscape in the Kingdom is vibrant and rapidly growing,” explains Fahad. “The momentum is driven by young Saudis’ desires to express their individuality and break traditional fashion norms in the region.” Combining their heritage and customs through the art of streetwear, 1886 goes beyond fashion – it’s a movement for Saudi creativity, born right on the streets of Riyadh, but set to take the global stage. Alongside fellow Saudi label Abadia, 1886 recently secured funding from international investor Turmeric Capital, underpinning the Saudi label’s big plans. While Fahad notes there are “several ways” 1886 intends to expand its reach, he remains coy on specifi cs. But what he’s got his eye is the global trajectory of internationally popular streetwear labels such as Supreme, Off-White and Palm Angels. “These brands have managed to develop a cult following and maintain their authenticity through collaborations, limited releases, and strong brand image,” he notes. “They continuously push boundaries, innovate, and engage with their audience, which has contributed to their success.” And it’s clear that’s the plan for 1886, too. This is undoubtedly the type of journey the Saudi Fashion Commission envisions as its impact on the nation’s fashion scene. Forecasted to be a booming US$32 billion industry by 2025, the growth of the Saudi fashion space is unmatched. As noted by Ravi Thakran, Turmeric Capital’s Chairman and CEO, and former Global Chairman of LVMH Asia, “A decade from now, I believe books will be written about the colossal changes as Saudi increases its economic presence across Asia.” It’s not only fi nancial gains that will increase Saudi’s footprint on the global fashion industry, but the cultural impact it will have on trends – something Fahad highlights as even more important for 1886. “Saudi streetwear brands have their own point of view,” he affi rms. “We blend contemporary streetwear aesthetics with elements of Saudi culture, heritage and personal narratives… creating an identity to resonate with both local and international audiences.” Prior to 1886’s preparation to take global fl ight, the label has been working closely with the Saudi Fashion Commission as part of the second season of Saudi 100 Brands. This, Fahad notes, played a “vital role in supporting” the homegrown fashion house’s success. “Being involved with Saudi 100 Brands for two seasons has been indispensable for 1886,” he explains, adding the “visibility” of the brand has grown tenfold. At the heart of it all, though, is creativity and storytelling. From laid-back silhouettes to loud asymmetrical pieces, this brand mastered the art of understated noise, while capturing the Saudi youth’s tone of voice, which is essential for its core message. “We aim to build strong brand narratives that highlight Saudi stories and perspectives to help them carve a distinct niche in the global market,” Fahad expresses. Paving the way for other Saudi creatives, what message does 1886 hope to convey to them? It’s simple, yet vital: “Stay true to your own unique vision,” Fahad states. “Embrace your cultural identity and constantly experiment and innovate to build a strong narrative.” A product of his own advice – having gone from university dorm room to the runways of Riyadh Fashion Week – it’s evident that this is only just the beginning of 1886. 094-107_VISION_VOL2_EMERGE.indd 9919/04/2024 15:51100 The search terms ‘streetwear in Saudi Arabia’ racked up more than 235.9M views on TikTok, with videos covering everything from local brands and where to shop, to what young people are wearing. Fashion subcultures in the Kingdom are thriving, fuelled by local designers who are expertly blending contemporary style with traditional infl uences – an aesthetic that speaks to the current generation’s need for self-expression and individuality. No-one knows this better than Yazeed Abahussein, who launched his Riyadh-based streetwear label, the aptly named Not Boring, in 2017. Women were his fi rst customers, their curiosity of the sub-genre motivated by a desire to experiment with youthful layers, such as graphic T-shirts, hoodies and track pants under abayas. Now, interest in the brand is universal and substantial, thanks in part to a growing design community who have cultivated a burgeoning streetwear scene in the Kingdom and are making the most of support from government-backed initiatives. “It’s more fun to be on this journey with the local fashion community,” admits Yazeed. “Doing it together, growing together, getting exposure together – I’m all about the unity of our community… All the collections of my amazing, talented peers are very special and different. Our standards are higher than international standards… not commercial but very niche and beautiful. We don’t take less than fi rst place in terms of quality; we aim for the best of the best.” In the same way that London’s Fashion East helped launch the careers of Kim Jones, Gareth Pugh and Jonathan Anderson, it’s hoped Saudi 100 Brands – a year-long development initiative for emerging local designers, educating them on everything required to grow a brand from the ground up with infrastructural support on Saudi soil – will do the same for aspiring talent in the Kingdom. “I would say it’s like a child when they learn how to walk, then speak and then continue to take the next steps,” says Yazeed of his ongoing mentorship. “It’s a very fun journey. I like that we, as a brand, were very naive and a little bit immature in the beginning. Then we learned bit by bit how the industry works, how the fashion system works and what we’re supposed to do to fi t the global international market. Seeing this idea then grow and become a brand showcased in Paris, the fashion hub of the world, is something surreal. I don’t really know how to describe the feeling.” Not Boring joined fellow regional labels Mazrood, Noble & Fresh, Torba Studio, Hindamme, and 1886, to present during Paris Fashion Week Men’s as part of the Saudi Fashion Commission-backed EMERGE pop-up space and runway presentation. With slick production and two dedicated state- of-the-art showrooms, the moment successfully celebrated the immense creative talent coming out of the region while simultaneously sending a message to the global fashion community. “I knew that there was going to be a runway, but I didn’t know it was going to be as beautiful, special, perfect,” marvels Yazeed. “Everything was considered, from the casting to all the tiny details – it was all very well thought out. And maybe it will take time, but at some point the global fashion industry needs to understand that Saudi is here to stay – we are talented and very worthy of the spotlight. We deserve the attention we’re getting. We may be late to the party, but we’re not leaving early.” His collection, a carefully curated blend of athleisure pieces – slogan sweatshirts, loose shirting, cargo pants and hoodies, effortlessly styled yet pristinely executed – proved a perfect counterpart to EMERGE’s attentive staging. “To me, it’s heart-warming to see an idea that began from me just chilling and thinking, ‘How about I start something called Not Boring that promotes individuality?’ Not following trends, just expressing yourself – that was the core idea that was born in a small room at night in Riyadh six years ago.” Having zeroed in on a brand ethos rooted in originality and creative expression, Yazeed continues to collaborate with both local and international artists on Arabic typography or graphics that speak to the local culture. Validation from the West may be warmly welcomed, but it’s not crucial. For the brains behind Not Boring and his peers – many of whom took part in the inaugural Riyadh Fashion Week in October – growth begins at home. “We’re only going up, both as a country and as a fashion industry,” vows Yazeed. “With all the programmes under Saudi Vision 2030, it’s clear that we’re very determined to take appropriate space in this world. We’re not resting until we reach the position we deserve within the global market in all industries. It’s the journey of a whole nation, not just me; I’m only one player on the team.” Part of a creative comradeship spearheading Saudi Arabia’s design evolution, Yazeed Abahussein is on a mission to be anything but ordinary by infusing the streetwear game with a new sense of style Not Boring 094-107_VISION_VOL2_EMERGE.indd 10019/04/2024 15:51101 094-107_VISION_VOL2_EMERGE.indd 10119/04/2024 15:51102 094-107_VISION_VOL2_EMERGE.indd 10219/04/2024 15:51103 This Saudi-born streetwear stalwart already boasts all the makings of a homegrown cult success – but that’s still not enough for founder Saud Alajaji. Behold the unlikely evolution of Mazrood Mazrood In keeping with the spirit of the times, many international streetwear retailers have shifted their communication from product to purpose, and from clout to community, and Mazrood is no different. “We are more than just a fashion brand; we are a movement, a lifestyle, and a vision for the future,” insists the brand’s website. “We believe in the power of style, sustainability, and self-expression.” Mazrood was born in 2016 – the same year as the announcement of the Vision 2030 modernisation strategy – and built on founder Saud Alajaji’s ambition to design and manufacture products solely in Saudi Arabia, with a dream of opening his own factory in the Kingdom and to be recognised as a Saudi-owned-and-operated brand. It’s an endeavour that perfectly aligns with HH Crown Prince Mohammed bin Salman Al Saud’s masterplan. Since then, Saud has diversifi ed his product offering as quickly as the Kingdom is diversifying the economy, leaving no category unturned. Although current bestsellers include relaxed fi t basic T-shirts, track shorts, logo print oversized shirts, and smart casual pants, Mazrood is perhaps best known for its cult classic lettered caps featuring Arabic calligraphy, and apparel featuring uplifting slogans such as ‘You have no idea how good life is about to get for you’ and ‘Grateful for all that is shown to me and all that is not yet known to me’ – iconic and Instagrammable in equal measure. Under the creative direction of Nourah Alotaishan, Mazrood is now a proud purveyor of menswear, womenswear, kidswear, and, staying true to its Saudi roots, has even joined forces with Riyadh perfumer Siage to formulate a now-sold-out unisex fragrance called Drop1 – pun intended – laced with burnt grapefruit, bergamot, dry amber, leather, and smoky woods. Saud shares, “We love to collaborate with artists and designers who share our passion for bridging cultural boundaries through fashion. It’s an exciting prospect to bring fresh perspectives into our designs.” Unintimidated by the sheer volume of output, Saud refl ects, “The traditional seasonal calendar in fashion is evolving. While we respect its signifi cance, we also believe in the freedom for designers to release collections when it best suits our creative process and customer demands.” Supporting the graduate of New York’s Fashion Institute of Technology as the brand navigates these decisions is the Saudi 100 Brands mentorship initiative, which Mazrood joined in its second season. According to Fashion Commission CEO Burak Çakmak, this programme provides the impetus to Saudi streetwear designers to evolve their brands, refi ne their voice and offer a unique point of view. It’s a challenge that Mazrood has gladly accepted, as evidenced by the runway shows in Paris Fashion Week Men’s and more recently in Riyadh. On the EMERGE catwalk, the six “bold and culturally inspired looks” were rooted in relaxed unisex tailoring and denim with only one slogan baseball cap shown. “The response was overwhelmingly positive,” reveals Saud on Mazrood’s more mature direction. Encouraged by these results, he took it one step further at Riyadh Fashion Week, seeking to rise up in what’s now become a crowded streetwear space in Saudi. “Our most recent collection was a result of extensive research and creativity,” Saud reveals of the 26 looks. Encompassing razor-sharp tailoring, a two-tone trench, and plays on puffer jackets, it represented a more elevated iteration of the vision, with each garment tagged with a blue square of fabric, as the brand’s calling card. “We’re especially proud of the fusion of traditional Saudi elements with modern designs, creating standout looks that celebrate our culture and contemporary fashion,” he confi rms. Echoing the sentiment of his contemporaries, Saud states, “Showing in Riyadh on home soil as part of the Saudi 100 Brands programme is a moment of immense pride. It’s a way to connect with our local audience and show that we’re at the forefront of global fashion trends.” Saudi designers are in a unique position. Not only are they on their individual brand journeys, but also on a collective adventure as ambassadors for culture in the Kingdom. It’s a dual role that Saud appreciates. “The perception of fashion and design coming out of Saudi Arabia is changing,” he notes. “There’s a growing appreciation for the rich creativity and cultural infl uences that our region offers, and we’re proud to be a part of this shift.” 094-107_VISION_VOL2_EMERGE.indd 10319/04/2024 15:51104 Self-taught artist and designer Mohammed Khoja is accumulating a body of work that combines creative fl air, inventive design and wearability while fi nding new ways to deliver messages from his homeland Hindamme “I approach design similar to the way a musician might approach creating an album,” refl ects Mohammed Khoja, founder and designer of Hindamme. “There’s a mood every season but also pieces that are consistent – signature ‘sounds’ and elements that defi ne the brand’s personality. But I also embrace change because we evolve as designers, as humans… I like the collection to be able to refl ect how I’m feeling about the moment and to also capture the cultural zeitgeist – it’s a mix of everything, all in a blender.” Forward-thinking yet with a deep appreciation for heritage, Mohammed established his contemporary streetwear label in 2016, embracing a multidisciplinary approach that perfectly refl ects his dynamic vision and ability to merge cultural infl uences. Born in the Eastern Province city of Al Khobar, he moved to Houston, Texas, as a child before returning to his hometown in his early teens. Uprooted again a few years later – his father’s work with Aramco was the catalyst for a nomadic lifestyle – this time to Paris, Mohammed enrolled at the American University and earned a degree in business. Here, he began to accumulate the ideas that would later defi ne his brand. Autobiographical in spirit, Hindamme, which means ‘to possess perfect harmony’ in old Arabic dialect, frequently combines different genres – from pieces that feature rare vintage Khaleeji stamps to those inspired by the moon landing of 1969 – and collaborations with an ever-increasing and richly diverse roster of artists. Previous collections have included a nylon padded bowling shirt featuring a print – a vibrant ode to Mother Nature – by Kyoto-based artist Ikegami Yoriyuki, and in 2018 the brand commemorated the Saudi government’s lifting of the ban on female drivers with a satin piece embroidered with the slogan, ‘Driving Jacket.’ Part of the Saudi 100 Brands collective for season two, Hindamme has swapped its previous business model of creating regular drops – a formula Mohammed realised “hindered my brand, in terms of getting wholesale orders” – in favour of a more traditional approach dictated by seasons. In June, he joined his peers in Paris to present on the EMERGE runway and showroom with a collection that combined travel and tech. “I have these fi ve silk shirts,” he explains, “what I like to call hero pieces, and each one represents a different region of Saudi Arabia. They have this motif that I drew fi rst and worked with a painter and illustrator to translate them. What’s interesting about this shirt,” he continues, “is that it offers the wearer an experience. There are these labels under the collar that have QR codes; with every purchase the customer gets an NFT which they can claim in the metaverse.” Mohammed is a master of building community – Hindamme has a powerful regional following and digital presence – and his interest in the evolution of goods and NFTs as a way to communicate is fuelling an exciting new chapter for the brand. “We’re even going beyond this,” he reveals. “I’m working on a ‘journey’ in partnership with the Ministry of Tourism, where each person can discover the region.” His grand plan includes selling his NFT shirts at pop-up stores in airports. “I love doing things outside the box,” he admits. Bolstered by Saudi Vision 2030 and its aim to increase diversifi cation in the Kingdom, a growing counterculture and the various initiatives spearheaded by the Saudi Fashion Commission, there’s a newfound confi dence in the Saudi air – a feeling that self-expression can be found through fashion. As Mohammed points out, the landscape remains as nuanced as ever. “Everyone is observing a cultural renaissance in Saudi Arabia and we’re very much a part of that,” he says. “It’s very multicultural and layered with a deep history. We’re not one shade of colour. I would always advise people in general, not just Saudis, to talk to people – there’s so much to discover and more commonalities between people than differences.” Connection is key for Mohammed, whether it’s found via creative collaborations or in-person interactions. “Just being in Paris to present at EMERGE and having conversations with people face-to-face makes a huge difference,” he observes. “Yes, they’re seeing the fashion, but talking to the designer adds another layer of understanding… we always want people to believe in our work. Not everyone will, but sometimes you’ll capture certain people. Being here, we’ve built these relationships, which is really incredible.” 094-107_VISION_VOL2_EMERGE.indd 10419/04/2024 15:51105 094-107_VISION_VOL2_EMERGE.indd 10519/04/2024 15:51106 094-107_VISION_VOL2_EMERGE.indd 10619/04/2024 15:51107 “I see a basic T-shirt as a canvas. Like an artist who paints something to deliver a message – this is how I view streetwear,” states Nazek Alkhulaifi , considering the sub-genre in relation to her conceptual label, Torba Studios, born in 2018. Nazek and co-founder, designer and college friend Sara Al-Ameel, like many of their counterculture peers, are disruptors – visionary creators who have no interest in conforming to industry standards or in caving to fashion’s cyclical pressure to over-produce. “I would say Torba is very much an experimental brand,” declares Nazek. “We like to think, research and innovate. Everything is connected to our core, which revolves around humanity and spirituality; it’s very important to us to have a purpose and deliver a message with each piece.” From the outset, Torba has embraced an intellectual approach, curating collections that combine tradition and modernity; an aesthetic union that echoes Saudi’s newfound confi dence in celebrating self-expression. The label’s emergence coincided with that of skateboarding collectives, fashion creatives, rappers and hip-hop artists – underground communities that have risen to shape the Kingdom’s invigorated cultural scene. While some might say streetwear has reached its peak on a global scale, in Riyadh, it’s just getting started. “Heritage is something that is very much embedded in us as people,” states Nazek, “it’s not something we try to add to the recipe, you know? The fl avour of our culture… it just shows in our designs.” There’s nothing tokenistic about Torba’s clothes, which quietly reference modest design through a youthful gaze. Take, for example, their beetle-embroidered abaya coat with hood and detachable cape, which sits alongside seasonless ready- to-wear such as layered skirt-pants, oversized shirts, graphic print vests and beautiful boxy blazers – clothing designed for the type of easy versatility favoured by the undeniably cool. Redefi ning shapes, sculpting and playing with avant-garde proportions and teasing both regional and abstract narratives into design details are all Torba traits that are fast becoming celebrated signatures. They may not have released any visuals yet for their upcoming collection, Dazed by Lights, but Nazek is enthusiastic about its backstory. “It’s basically about how, as human beings growing up, we are kind of daydreaming and dazed by materialistic things in life. At some point, there’s this realisation of ‘Oh, we grew old!’ So, it’s a juxtaposition between youth and the elderly.” Earlier this year Torba took to the runway for the fi rst time as part of the EMERGE pop-up space and show in Paris – another stop on the Saudi 100 Brands’ world tour, following events in New York and Milan – presenting looks from their current collection, Afternoon Dreams. The experience generated invaluable brand awareness, but also cemented Torba’s innate desire to do things a little differently. “In the future, if we do a runway show, I’d like to do it in a way that is more theatrical,” muses Nazek, reaffi rming the brand’s cerebral ethos to present ideas rather than merely clothing. Her outlook echoes that of her personal icons, jewellery designer Yoon Ahn of Ambush and Demna, the master of the visual metaphor whose creative directorship at Balenciaga has produced runway mudpits and snow-fi lled sets. “These two designers have an interesting way of thinking,” explains Nazek. “I like visionary people who have something to offer – new conversations to make with the world.” One dialogue Torba is keen to be a part of is that of climate change and ecological decline. “I really stand with upcycling and recycling,” asserts Nazek fervently. “It’s so important to me. In the world that we live in today, it needs to be embedded in every brand because really at this point, no one needs clothes anymore – clothes are everywhere and accessible to just about everyone.” The brand already offers some upcycled ready-to-wear and accessories, but Nazek aims to make it “an ongoing project” and a key part of Torba’s identity. “I saw The True Cost, a 2015 documentary directed by Andrew Morgan, which explores fast fashion. Those images of piles and piles of clothes thrown in a dumpster really stuck in my head. For me, sustainability and upcycling are about being fair, and that’s important in a world where there is a lot of injustice.” For now, Torba is keen to grow at a measured and sustainable pace, dropping new collections when demand warrants it. “We got a call from someone who works in the fashion industry who told us that if we don’t do seasonal collections based on the calendar we will be forgotten. This is kind of a joke to me. It’s not healthy to be pushed to create without thinking and just mass-produce things. I don’t believe in the system – it’s time to accept change.” The anti-fashion label is defi ning a new language that’s as alternative as it is unexpected, based on interconnected creativity, theoretical design and mindful production — a manifesto all of their own making Torba Studio 094-107_VISION_VOL2_EMERGE.indd 10719/04/2024 15:51Next >