For Pascal Mihranian, Less Is Always More

November 28, 2023

Born from the essentials of the styling kit, contemporary label kits SS24 collection reminds us that there's beauty in simplicity. Embracing authenticity in a digital era dominated by unrealistic trend cycles, kits confidently inserts itself into the conversation without waiting for an invitation. Pascal Mihranian, the Paris-born downtown force behind the label, boasts a remarkable design repertoire, including crafting costumes for Solange's captivating performance art piece at the 2022 Venice Biennale. On October 30th, he held his biggest show to date at Tara Downs in Tribeca, debuting a new collaboration with intimate brand Sheertex. The New York-based designer brought his vision to life through the experimental use of hosiery and dead stock materials, allowing his intuitive sense of chicness to shine through.

At its core, kits' pieces eschew theatrics, effortlessly asserting their tactful aptness amid the current sensationalism of spectacle on social media. Each look rejects ostentation, instead honoring the human figure as a canvas for versatile expression. Stripped down to its original form, the clothing is both vulnerable and bold, capturing attention without the need for loud declarations. Through the execution of flattering cuts, precise tailoring, and selective use of monochrome hues, the collection alludes to fragility yet transcends as staple pieces capable of withstanding the test of time, even in the most transformative episodes of self-reinvention.

Words by Sarah Ignas
Photos by Kayhl Cooper

How would you describe your personal style in three words?

Simple, good fabrics and cuts, classic.

What is one trend you love right now and one not so much?

What are the trends right now? I love the sheer trend and leather. I don’t know if you can call it a trend because it’s always in. What I don’t like, which I guess is already out of trend, is logos.

Are there any particular fashion eras or designers that influence your work?

Definitely influenced by the 90s. In general, the anti-fashion designers of the 90’s: Margiela, Helmut Lang, Rei Kawakubo. Early Calvin Klein too. A mix of classic American and conceptual Belgium.

Where do you go to find inspiration in New York?

Galleries are probably the most inspiring. Just as much as galleries, just going out in New York. There is nowhere else in the world where fashion is practiced this much. Going out here is very interesting, just looking at what people resonate with. One of the reasons I am in New York is how stimulated I am by the art and party scene here.

I have to ask, how was working with Solange for the Venice Biennale?

It was the most amazing thing, the thing I’m the most proud of. But also the most stressful thing. We had to turn around sixty pieces in four days, which I had never done before. The PR at the time said it wouldn’t be possible, but I said no it’s possible. I’m going to make it. I had to stay up two nights in a row to get everything done. Seeing the performance was absolutely worth it and I’m so proud of it. I was listening to her music while designing the collection.

Amazing.

It was a moment.

How would you describe the type of person you design clothing for?

Confident and Intentional.

What is the inspiration behind this collection?

Very much the women that were around me. A lot of strong women. Tara Downs is a perfect example. She’s one of the art dealers downtown of whom I respect the taste of the most. How do you express taste in fashion? For me, it was about measuring how much you leave a garment as is and how much ornamentation or design choices you add to it until it becomes too much.

Do you have a favorite fabric you like to work with?

I mean hosiery. No doubt on that one.

How do you get unstuck creatively? Or push through creative blockages?  

There was a time when I would take a break, leave my life for a few days, and pause. But now if I’m ever stuck creatively, it’s work harder. There’s no secret. I lock myself in the studio, watch some things, and listen to music. Music is a very good element to get unstuck. Working harder is now my new strategy. I lock myself inside from the outside world and just face the problem.

Did you always have this vision of duality for the piece to be both an undergarment and a garment?

Yes, I think that’s really how we started. I think it also goes further than undergarments. Standard garments that really interest me. The same pair of hosiery can become a full-on dress. I’m really interested in exploring how a t-shirt can become a full look. What interests me is making a very basic garment look like a look. Undergarments are obviously such a big part of the styling kit, that it’s been the main focus. But I really like the aspect of something so fragile, sheer, and revealing that becomes a full outfit, becoming your personality.

I'm curious to know more about the tube dress while the model is covering her chest. Did you have that in mind while making the garment? Or did that happen organically during rehearsal?

I have to attribute that to our stylist Akari Endo Gaut. That was a dress that was not going to make it because we had the nude version that opened the show originally, and then she said no, let's do it. It was all a common effort. It just told the story right and set the tone. The sheerness was proving the vulnerability, but then it’s Tina walking and she has that red lip and sleek hair, making it something vulnerable and very strong.

Why did you choose a gallery for the backdrop of your 6th show?

It started with Tara when she offered her space. I asked her to open the show because she was one of the woman that inspired me. In previous collections, there was always an altercation with art. But now that we’re in a gallery this time, I don’t want to talk about art. This point of view is clearly fashion. Having the support of the gallery allowed me to focus on fashion and not worry about showing artfulness. I wanted to get rid of the theatrics.

How was this show different from previous shows?

It was the biggest one. It was a full collection, the 6th one I’ve done with kits. Past collections were showing concepts. This time I wanted it to feel like a full collection with hopes people can find something to relate to. It was much more diverse in styles. A little bit of streetwear, a lot of artisanal pieces, more wearables, real tailoring. It was trying to develop ideas that already existed and explore them both aesthetically and technically.

How did the collaboration with Sheertex come about?

At first, I sourced from wholesalers in the Lower East Side where I was living. There were a lot of shops that had mountains of hosiery and I would go in and buy their dead stock. I discovered Sheertex and I thought it could be a new approach to sustainability. It’s an industry that produces so much waste. You know tights rip and run, but having this technology that Sheertex created that makes anti-rip and run tights, that is forever and non-disposable. I reached out and it took a while in the making because the fabric is very different from what I’m used to working with. I’m hoping we can go towards more durable fabrics that can pass the test of time.

What was the most exciting moment of the show?

It was like a big family coming together and doing something together. The whole show was the most exciting thing I had experienced. It was such a wonderful day mostly because of the people backstage: the stylists, hair stylists, make-up artists, Gia, the producer, and the models. Overall, just seeing the images after and the production of work from so many talented friends was the most exciting for me.

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Total Recall

Born in the Moroccan town of Tétouan and educated in Paris, Khattabi’s upbringing required him to make sense of how the different influences surrounding him could align. In turn, his designs explore the embedded codes and history of his bicultural background. Total Recall addresses this phenomon by including garments meant to reflect adaptation and transformation. Skirts made of tire covers and motorcyle tarpaulins refashioned into dresses are scattered across the collection, conveying notions of displacement. Blending these elements adds an industrial touch to the pieces while still keeping a sense of movement.

From sweatpants infused with polka dots to nostaglic slogans and banner display, the ensembles symbolize hidden identities and memories. Giving us a glimpse into his own memories, Khattabi's work evokes affection for the past. It's a nod to the interconnectedness of culture and how we interact with its complexitites creatively. View the collection below.

reward if found is available at LN-CC, 10 Corso Como, Gr8, Opener, and more selected retailers globally.

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