In the five years since founding his brand, Jameel Mohammed has made a name for himself with inventive, streamlined jewelry and imagery that bids for the Black community to have a larger stake in the fine jewelry world. For New York Fashion Week, those jewelry pieces were front-and-center in an installation at Khiry’s first runway show. They were circumvented by a handful of models out in one-of-a-kind showpieces that touched on elements of Mohammed’s heritage and experience as a queer Black creative — marking Khiry’s first foray into clothing design. As the looks made the rounds of a large room, models sauntered over to gaze at new jewelry pieces perched atop handmade ceramics.
The look: Fantastical showpieces that Mohammed counts more as “objects,” than clothing. The dark sculptural designs, embellished with feathers or bits of bondage-like hardware, saw pops of color courtesy of weed wrappers that Mohammed has collected over the years, which were layered to create a fabric-like effect.
Quote of note: “I always thought that until I have a million-dollar investor and a mill in Italy, I can’t just try to make something. Over the past year I let go of those presumptions and this was just the most spectacular version of that. I’ve still got a ways to go before I create a commercial collection, but it’s a space I’m luxuriating in.”
The takeaway: Mohammed’s creativity and taste for showmanship (he sang at the show rather than playing a soundtrack) seem to know no bounds. Watching how he channels that energy and evolves over time should please fashion observers.