Successful wine and media entrepreneur, Gary Vaynerchuk has many famous catchphrases, but one, in particular, stands out when thinking about up and coming fashion brand, King’s Ransom London – “macro patience, micro speed”. The crux of the saying is to work hard and grind every single day at a fast pace, whilst simultaneously not expecting huge results to occur overnight. Both co-founders of King’s Ransom, Komali Scott-Jones and Meghan Hamilton-Willcox, friends since the age of eleven, undoubtedly personify this message in their own right. With both plying their respective trades in the music industry, Komali as an A&R scout at Parlophone Records, and Meghan as a freelance video producer, they require an immense amount of grit and drive to keep working towards their dream of running King’s Ransom full-time. Since starting their business, they have always managed to stick to their core values of ‘focus, fun, drive and strong work ethic’, and its these values that have enabled them to be visible in a crowded space. The intricacy in their logo and the carefully crafted modelling shoots which can be found on their website is testament to their attention to detail despite competing for work pressures. However, it won’t just be the design of their clothing which will aid the growth of their brand – their genuine desire to help fellow creatives with a shared ethos will. I managed to speak with Komali and Meghan on a number of topics including why they decided to start a business together, what King’s Ransom means to them, why creatives don’t have enough business knowledge, the lack of understanding of what it takes to run a business, the impact of social media on mental health, and more:
TP: You both have been friends since school prior to starting King’s Ransom – what qualities did you both see in each other that made you believe you could start a business together?
Komali: We literally met on the first day of school, and became friends when we had to do one of those icebreaker tasks – we’ve just got on since then. I just think in life, you don’t necessarily get what it is but you gravitate towards people that are similar to you. And even though at school we were completely different – I’m very academic, and Meghan’s not so much-
Meghan: I was like, “where’s the sports and arts, point me in that direction” (laughs)
K: (laughs), so we’re different in that way, but we share similar passions.
M: We also share the same moral conduct, we’re passionate about what’s right and wrong. We’re quite honest about our feelings… I think it’s hard to be friends with people sometimes when someone isn’t maybe outwardly confident and I think we’ve never had that issue, because we both had very clear personalities. We both respect each other’s opinions, and I think it’s easier to be friends with someone like that. You always know where you stand with them, and with me and Komali, we always supported each other and built each other up.
K: Yeah, and it just made sense, we always spoke about starting something together.
M: Are you even real friends if you don’t discuss a business idea together?
(Laughs) yeah, that’s very true
K: Not everyone get’s to do it, but we are similar enough in the right ways to make it work. Just being able to separate the two things – like business is business and friendship is friendship. Because it is all consuming, it can be hard – sometimes we just want to call each other and have a gossip, and we don’t want to talk about King’s Ransom, and we give each other space to do that. Then there are other times where that’s all we’re talking about, but that doesn’t mean that we’re any less of friends.
I think what you said about having similar moral conduct is key, I feel like that’s something that is similar with my friends…
K: Yeah it holds you together, and you can know you can vouch for your friend. Like if someone said to me “ah, Meghan beat this girl up”, or “she slept with ten guys”, I’d be like “you’re chatting shit”, not because it’s a moral issue, but I know what she’s like, so no one can tell me anything like that about her, because I’ll know if it’s true or not.
M: Yeah, out of the two stories, the first one is a lot more likely to happen (laughs). We understand and celebrate each other’s differences as well. There are times where Komali will come to me saying, “I’ve got this idea, I can do this part of it, but you can do that part of it”, so filling in those gaps for each other to help the person’s idea work – it’s just teamwork, and that’s why King’s Ransom works for us, because it’s always a collaboration on what we do.
How do you carry over that moral aspect of supporting and elevating people into King’s Ransom?
K: Well it’s a core part of the brand’s ethos. So ‘king’s ransom’ itself is a turn of phrase which means a large sum of wealth. You can adapt that to how you want to understand it, but for us, it’s the people we’re around. We want to be around people who are super focused, want to be successful, work super hard, and feel good about themselves. In the early stages of King’s Ransom, the people we were trying to involve were friends growing up and now, a lot of them are doing a lot of cool things.
At our initial casting call we had so many talented people for example, we had someone who was going to be in the Rio Olympics, a mathematician, Ashley Verse, who actually shot our first campaign… so there were a lot of people that have gone on to do amazing things and at the time we said to ourselves, “we’ve got this platform, but we need everyone’s skills to combine so we can help elevate ourselves”. And that’s what we work into King’s Ransom as much as possible, and you can see that in the ‘Eye of a King’ photography project that we do.
What is that exactly?
M: It’s a collaborative photography series where we find young, up and coming photographers and with this particular series, it’s doesn’t focus on the size of the fan-base. So you may only have shot stuff for your own Instagram and you have only three hundred followers but we don’t care about your number of followers. If you care about what you do, and you’re passionate, why would we not care about what you can bring? And it’s just how we feel bigger brands should behave – whilst we’re not there yet, that’s the ethos of King’s Ransom, and we’re going to start that now, so when we’re as big as Nike, we’re still going to use those photographers that have the balls to do what they love. That’s what we love most about that series, because you meet so many different people, from so many different walks of life.
K: It goes back to working with people that share the same moral fibre as us. There are people who have never been on shoots before or on set with us, who have gone on to do big things and work together. And that’s what it’s about, we feel in London, as much as it is a massive city, the creative scene can be quite exclusive, so we like to go against that, and authentically connect people. It’s like in music, the people who work in middle management or senior management, have all worked together for years, and that’s how it’s meant to be. Over time, we should all be working together and helping each other, so I’d be like “ah Meghan, can you help me with this?” and vice versa.
M: We both come from that mindset – Komali’s family has always worked in music, my family has always worked in film. And when you start in film, you’re a runner first – you make the tea, and you prove yourself, and that’s very much what it’s like. We don’t come in expecting favours, but we spoke to a lot of different people who gave us advice and that’s how we’d like to be. We’re proud to see people we started with, climbing and working together. Seeing what Ashley Verse has done, and being proud that you were there from the start, and saw that talent in someone, when others were like “you should have stayed with your job, because it pays you better”. It’s like “no, go and do it, we’re here to support you”. We treat it as a family, and want to look after everyone, and a lot of people look after us. I think it just shows how good young people are rather than how they’re normally perceived as being dangerous and lacking direction.
Speaking on that, we’ve seen in London this year that there has been a lot of knife violence and heightened scrutiny in the media of the issue. However, do you feel that the positive things young people are doing are being understated?
M: It’s also the causes that are understated. You don’t have disenfranchised people, for no reason. It’s not a case of, “that young kid has a knife, we should take the knife off the kid”. How about, you don’t take that kid’s EMA away and they might stay in college and study, or do an apprenticeship. And I think that’s where it comes from. It’s like, if someone gets cancer, people aren’t like “oh, they just got cancer”. They would say “oh, they must’ve smoked for 50 years” or “it’s genetic”. There has to be a reason, and you need to help – there’s obviously something bigger going on, and it’s very clear how the government feels about young people, and of a certain race and certain class. Komali was saying that the way they compared the situation to New York was ‘sensationalized’. They claimed it was worse than New York’s violence problem but their epidemic occurred in the eighties.
K: I think it was like a nice, little sound-bite, so people could be like “ah guys look!”, but really and truly, this issue has always been here. There have always been young people involved in violence, but they act as if it’s mainly black kids. Before there were black kids here, there were white gangs, and there still are white gangs. There are all types of gangs from different ethnicities- crime is endemic in human society. But the thing that binds New York, London and other major cities with the same problem, is that there’s a huge issue with poverty, lack of aspiration and that all is a result of the government. Also living in such a capitalist society contributes heavily to the issue. People talk about the role of social media, and that it is to blame – it’s not. The fact of the matter is, you guys have created societies, where we’re all desperate to have everything.
M: It’s a reflection of society –
K: Exactly, we’re told that we need the best car, the newest clothes, we need this, we need that, that’s what we’re taught to aspire to have, not have a trade.
M: Not to have a family, a house-
K: None of those morals
M: We all know a boy who buys five hundred pound trainers, and his insurance is crazy – and then when that guy is thirty or forty years old, he’s not going to have shit. And everything is about now, we’re not taught to build a future for ourselves, or build an empire, or employ our friends. And that’s something we’re very passionate about – both our families have done that, for example, my granddad left school when he was fourteen, became a joiner and built a building firm in Scotland. I think if you give someone the chance to do something for themselves, then they can do so much but we don’t do that in this country. We just leave people to fend for themselves, but then we wonder why young people don’t have anything. We’re not taught business or anything like that.
K: I do believe it’s a huge problem, but I also think that it’s ironic, that they’re putting a lot of emphasis on it being a black issue. On the other hand, black culture is flourishing, more visibly than ever before. I find it interesting that, Stormzy has got platinum singles every week, he’s doing amazing, he’s personable, charming, handsome, funny all those things – he’s a star. But it’s not going to stop the Daily Mail publishing a story about, him being arrested, or police kicking his door off, or thinking he’s Lukaku – like no matter what, you get dragged down. Don’t get me wrong, there are real issues that are happening and some young kids lost their way, and they need the support of all of us, but I think we all need to take a deep breath and recognize the hysteria that the government are trying to create.
They talk about the music that these young kids are doing, and displaying outrage at the content, but those songs are getting signed for millions, so which is it? It’s a big topic, but I don’t think we can let it overshadow the good that is being done. It’s the same dichotomy forever, the more we demonize people, the more the problem is going to grow. But it’s also really easy to find solutions to it, because if you look around the world, things like decriminalizing drugs in Portugal has helped the situation. Or in Glasgow, they had a whole knife and gun initiative, because they had a real epidemic there. There were no black people involved.
M: Yeah, I can vouch for that (laughs)
K: There’s a certain narrative, that we’re all fed, that doesn’t help anyone because it’s demonizing. I’ve got a little brother, I’ve got little cousins, and it doesn’t need to happen to any of them. There’s so much going on in London, so much opportunity, and that’s what we really need to cling on to. We need to think what we can all do to help those close to us.
On that political stance, we see in music, artists can be a voice for the people, for example Stormzy had a really powerful performance at the BRITs – do you feel there are any similar figures in the fashion world?
K: I feel like there is but music reaches people on a different level. Not that fashion can’t be political, but I think it’s in a very different way in terms of its reach. Not everyone cares about fashion, whereas ninety five percent of people listen to music.
M: I think it used to be more like that back in the day. Stylists like Vivienne Westwood or Alexander McQueen, they were like Punk and the music influenced them to have that reaction. But I don’t know whether we have that now, and especially for me, some areas of fashion are very elitist. There’s a certain aesthetic that everyone wants… like, no one gave a flying rat’s arse about Gucci three or four years ago.
K: I did… (laughs)
M: (Laughs) No but I’m just saying in general it wasn’t popping, but it’s all about image and who’s wearing it. Brands place their clothing within music, not the other way around, so they’re going to put someone like Stormzy in that outfit because Stormzy is popping, but if he hadn’t transcended into the mainstream, they wouldn’t have done that. So I think fashion needs to open up and reach out to people outside of the red carpet.
K: Yeah definitely but I also think fashion is going through a change. They used to have fashion shows for collections a season in advance, but now they’re adopting a direct to consumer approach. So just in that way, they’re not as focused on the politics, they’re more focused on keeping up with the industry changes.
M: Also designers need to bring through young designers, because Vivienne Westwood wasn’t always Vivienne Westwood. Versace blew everyone’s minds when he came out because he was so different, and I feel like we need to concentrate on talent, and nurture it. People need to look at fashion as a craft and a skill. More money needs to be injected into it, for people who can’t afford to study it. Some people don’t have the luxury to do creative studies and as a result fashion and art can be very elitist. Only a certain type of person is having doors opened for them meaning that the style of fashion will just reflect those select people. You’re not going to have kid that splashes paint or writes “fuck the government” on a dress. You’re missing out on bold creatives who think differently because of a lack of funding.
Yeah, people don’t appreciate how much creative industries contribute to the UK economy, which makes you think there should be more investment…
M: Every single person in an advertising agency at the moment is middle to upper class and white. You may see one or two black people in an agency, but I guarantee they probably won’t be in a higher position, or they will be a young creative. What they think right now, is “we’ve realized young people is where all money is coming from and young people are criticizing us, so we need to bring the new generation in”. It’s all well and good, but are you going to use those people’s ideas to make multimillion campaigns, and are you going to promote them? Are you going to make an environment such that when someone like Komali walks into an agency, will she be someone they can look up to? Or are you just going to take everyone’s ideas and slap their name on it?
On that note, what did you think of Ramz’ video, on brands sending him clothing but not providing clothing for his team?
M: The thing is, I can understand it… first of all when you give someone clothing, it’s for a certain level of exposure. There’s a lot of people, in the business sense that ask for free goods, but it’s like “would I hand you one hundred and fifty pounds?” No, so why would I hand you a free jacket? It’s like they don’t see the connection. This costs money, time, talent, skills of all those hundred people to make that one garment, to go on your back. Now if you are the artist, and you have a certain level of exposure, then your whole team will probably get that from bigger brands. But what I think he should be concentrating on, in my personal opinion-
K: Making another hit song (laughs)
K: I’m just joking, I love Ramz and am very protective of him…
M: Artists like Ramz should concentrate on the smaller brands, and go to them and ask “I’d love to give you exposure, can you give me and my team clothing, and we can wear them at our next show”. That will do more for them than it would for a bigger brand. A bigger brand doesn’t give a fuck about that, and will do whatever they want, so why not concentrate on that?
K: I think that’s a good point but you’re the artist. It’s like the artist saying, “I’m the artist, why don’t you clothe my twenty strong family?” It doesn’t work like that. To be fair, I’ve gifted an artist and his DJ before, but the DJ was on stage. That’s the point of gifting, it’s to gain exposure – just like in the same way, I wouldn’t ask to listen to your music for free.
Do you feel that the creatives in these industries, have enough understanding of the business aspect?
K: No. Ramz for example has shot to fame with that song (‘Barking’), but there’s a lot that comes with that. He was in between Drake and Eminem on the charts, he’s been signed to the record label and that’s a lot of contracts, money, people who didn’t have time for you before, who are suddenly excited about you. If you’re eighteen/nineteen coming out of college, you won’t know much about the industry. I’m twenty five, working in a record label and there’s still loads of shit I don’t know, so it’s a huge issue for young artists.
M: True but you still need to educate yourself. You’re not always going to know the legal ramifications of the stuff you’re signing or doing, but you just need to be vigilant. A lot that happened to Mike Tyson for example, was due to his relationships not business. He didn’t make those decisions based on business. You need to get a third party opinion – if you’re making this much money, you can afford to go to a lawyer, and ask to break down this contract. There’s an artist I worked with called Nathan, he’s from Sweden, and his friends came over with him to do this music video. There were four or five guys, and we were all having a conversation with them – now I made the assumption that they just came over for the video, but these boys were like his advisers. They said that they’re there to make sure he’s not doing stupid shit, and he’s here to shoot it and here on time. So now he’s getting deals, his friends are advising him on what deal to take, and to not just take any amount of money. Despite having management, his friends are backing him so much and they’re only around twenty years old. He’s got a great support system around him, that can help him make better business and financial decisions.
K: Going back to your question, it’s important as young people in these industries to realize that you have a lot of worth in the music or fashion or advertising industries. Our voice matters because we are generating wealth, and it’s important to ask questions, and not to be scared. Don’t let anyone pressure you, and be confident in that. It comes back to everything that is happening at the moment, it’s a sense of confidence. I’ve been very lucky, my parents sent me to a really good school and gave me a great education, but they’ve taught me, you can do whatever you want, and that’s half of the battle. When I’m walking into job interviews, people will be like “yeah, I’m gonna hire her”, because I have that confidence. With that self-esteem, you’re pretty unstoppable, and that’s a massive thing.
M: I didn’t realize in what I do, I was always the young one. I was the runner or junior producer. But now I’m in a position where people will come on shoots, and be getting green teas for me. I was like “what is this?!” because normally I’m the one getting the orders. I’m starting to realize, there are a lot of young people on these shoots that will come and talk to me. There’s one in particular, called Lazmi, who I use for every shoot, she’s amazing, shout out to you (laughs). We had this really long conversation waiting for a shot to be set up. We had time to talk about her career. And she’s asking me how did I get to where I am? And I responded, I did it in all the ways people told me I couldn’t do it. Instead of going university, I went straight from college into work and worked my arse off to where I am now. You have to ignore those opinions, and talk to people who have done it in different ways. Educate yourself, go and talk to different people, and like Komali is saying be confident in yourself.
Do you feel people have enough respect of how difficult it is to run your own business?
K: Not at all – which is why some people would say, “give me all of this stuff for free”. I didn’t just roll out of bed and find a box of t-shirts on my bedroom floor. I didn’t get this for free, we funded this all ourselves, and we properly worked for this. In a period of time where anyone on Instagram can slap a label on a ‘Fruit of The Loom T-Shirt’, and sell those. It’s frustrating when people don’t know the difference between a clothing line and a brand. A well rounded, well thought out, deliberate brand.
M: Exactly, not just, “I’ve got fifty thousand followers, I’m going to slap a picture of my face on a T-shirt”.
K: You need to be respectful of people’s craft and… I wouldn’t expect anyone to give me anything for free. You don’t go up to Nike for example and say, “I don’t want to pay for this tracksuit.” You give Nike the money! It is difficult at times, because you do get overlooked especially in a sea of other brands who may have more followers, or have a big collection, or have someone famous representing them. We’ll get our break, but it can be difficult when you know how many late nights, how many early mornings you have throughout the whole process. In my second year of uni, I was working full-time, studying, and doing this and it’s like our baby, it’s so close to our hearts but I really know what goes into this so if people just ask for stuff for free it can be a little bit…
M: Selfish. I feel it can be very selfish, and if you’re so self involved that you can’t understand our point of view I don’t want you wearing my shit anyway. Like what Komali is saying, there is such a sea of rubbish, that if you’re slightly smaller and don’t have the right connections you can get lost in that. It’s just a case of being dedicated, and those brands that don’t have longevity they fall away after a certain point, whilst your brand will have been recognized.
What do you think differentiates King’s Ransom from brands in a similar space?
K: I think we have a strong ethos behind it and it’s not just something we put on our about page. It permeates everything we do, and I think in a time like this with so much going on not enough support for one another, everyone running a solo singular life, the power or working together has been overlooked for a long while. So many influences and being at the heart of street-wear, because we understand the history and context of the type of clothes that we wear and produce. And street-wear, is pop culture at the moment, because black culture is pop culture. It’s just one of those things where you can see the difference between someone who has thought “that’s what everyone is wearing, we’re going to make a logo” and someone who is genuinely part of the culture.
M: There are certain people who are wearing stuff and taking photos, but it’s not authentic or true to them. It’s not like anything they’re wearing is influenced by their life. You can be influenced by certain things you see, but you need to educate yourself properly and then support that culture but not like putting your hair in ‘cane rows’ because you like one song from WSTRN.
M: That’s not how it works – I think there’s certain ways of supporting it, and I think just be authentic, our brand comes from us, and I don’t think there’s enough of that.
If any artist was going to wear King’s Ransom clothing in their video, who would you want it to be?
M: Mist (laughs). I’m obsessed with his music videos. I think there’s a lot of up and coming people making good videos, e.g. J Hus, his videos are amazing. I had a massive discussion with my colleague about who’s got better music videos – Mist or J Hus. What went into ‘Bouff Daddy’ for example was technically amazing. But in terms of grandeur, Mist takes leaps and bounds in his music videos and that’s what our scene needs. Our industry is only starting to see that by investing money in those visuals, you’re going to connect with a completely different audience, and what Mist is doing now, he’s drawing them in to his fantasy world. He looks like the baddest, richest person especially in ‘Game Changer’.
What do you think is the most important thing to connect people to a fashion brand?
K: It’s a difficult question because what connects happens at different times. Aspiration is always a key thing for any brand – as much as back in the nineties, you had hip-hop artists that came out with their own clothing brands which did amazingly in their own right, but they died out pretty quickly. In terms of becoming a super brand like Nike, or Super Dry or any of those because at the end of the day, Louis Vuitton, Gucci, Chanel, they’ve been in high culture, and define aspiration. You’re going to feel ‘bougie’ in a Chanel jacket rather than in a Trapstar one. It’s high culture versus low culture, but street-wear has moved into that space. Before it wasn’t about the most expensive shit, it was the rarer stuff. I’m going to have to go to the depths of Harlem to find a certain piece of clothing or I need to buy it off my friend’s cousin. It used to be about how exclusive it was, but now it’s how expensive can it be. Like ‘Off-white’, I’ve got nothing against it, I think Virgil (Abloh) has done a great job, but you’re wearing trainers that look like they’ve been singed which cost five hundred pounds.
M: People want you to look at their foot and say that’s a thousand pounds not that’s a nice pair of trainers.
K: I think that the main thing is aspiration, I think that’s what connects to a brand it depends if your brand connects to what people are aspiring to at the time.
M: I think also, in a music video, performance is a massive thing. If you look really awkward, I’m not going to give you a t-shirt. I know that sounds dread but from a business perspective you want that t-shirt and that person to be synonymous with each other. Like Komali was saying regarding the aspiration, the way they are, you want them to reflect that. If you got someone who doesn’t know what they’re doing in a music video, and they’re wearing your gear, and it has two million plus views, as a brand would it bring you much?
You’ve interviewed some great people in the music industry, like Jords, Lily Mercer etc… what made you want to add that to the brand?
M: It’s always been a massive part of what we do, and when we had that first casting call, and we saw all of those people, and we saw the difference in them. We met this girl Laura, she’s amazing at Mathematics, scores ninety nine percent in tests, but when you see her all you see is a model. So we were effectively interviewing these people at our casting calls by just finding out about them and thought why not actually publish it? In that way we could put a spotlight on these people and the cool things that they’re doing.
With King’s Ransom, social media has helped your platform, and I feel to an extent it’s helped diversity within modelling, but at the same time social media has an effect on mental health of individuals – what’s your view?
K: I think it’s a tale of two halves really, it’s like anything – alcohol is great, until you get paralytic. If you drink too much then it’s going to be bad for you and makes you sick. I think social media is amazing for connecting people and bringing people closer together. You can be held accountable for things that you couldn’t have been before, like if Dove put out an advert that misses the point, and it’s a shit thing to do but it’s clickbait, people will call them out for it and their sales will drop.
On the flipside of that, people use it to hide who they really are. It’s all smoke and mirrors, and that can be damaging if you take that at face value. When we were growing up, there was always the conversation over size zero models for example, and how it made women feel, but I was never raised to think that’s just how women are. She didn’t roll out of bed looking like that, she got her hair done, her makeup done, but not everybody has that view, so they think “why doesn’t my hair look like that when I wash it”, and “when I use that shampoo my hair should look like Cheryl Cole’s but it doesn’t”. People need to be more responsible with how they’re digesting that information. Even though it’s not a magazine it’s still a fabrication to an extent.
M: I think people are now starting to learn now about it, like Instagrammers are are making videos on YouTube saying “how I edit my photos” or “how I do my make-up”-
K: In terms of people using Instagram, and flicking through pictures of celebrities, they’ll be like “ah, shit, this person is always out and they look like they’re having a good time”. Internalizing that, and thinking people are more successful than them is damaging, because people feel they’re not doing enough.
M: I personally, have never cared what other people looked like, it’s never been instilled in me. I love fitness models, I love girls that have abs, I think they look amazing, that’s my ideal body type. So I spoke to my sister about it, and she said she un-followed people because they looked how she wanted to look, so it upset her. I follow those people, so I can find out what ab exercises they’re doing, so I know what they’re doing and can celebrate that. It’s two very different mindsets – you can choose to look at things in different ways. You can look at it in a negative way, which will more likely lead to being depressed or you can look at it in a positive way, and think how can I achieve what that person has. There’s two much outward concentration when you need to look inwards, and ask yourself why you’re not happy. It’s all external – that person could be smiling and putting make up on, but be crying seven days a week. You just don’t know so need to concentrate on real life and not Instagram.
Earlier in our conversation, you said, “when we’re as big as Nike” which I liked. You said “when” and not “if”, showing your belief in King’s Ransom and yourselves. What is ‘making it’ and success to both of you?
M: I feel failure is not an option. For me, success is where King’s Ransom is a self sustaining thing, where we’re not just employing ourselves, but employing other young people and creating a community. When we’ve reached a level that we can have our own office and do our own thing, then we’ve made it. That person who used to be me when I was eighteen, and working in a shit job they didn’t want to do, I could say to that person, “look, you’re amazing, come work for us”. We can do all these fun things, and create that community. We do a lot of charity stuff at the moment like we’re doing a knife crime thing. There’s a company that teaches girls how to do nail art and manicures couple times a week, and gives them a place to go –they’ve asked us to go and do talks there, so when we’re bigger, that’s something I’d like to be more involved in.
K: I’d like to be recognized on the street-wear scene for our craft and that we’ve made something that’s stood the test of time, true to street-wear culture and arts. For example one of my mum and dad’s really good friend’s, is the artist, Hassan Hajjaj, – they grew up together, he came from Morocco and couldn’t speak any English but he set up this street-wear brand called “R.A.P” which became very successful. My dad still has one of his old hoodies, and I still wear it today, because I know what it stood for. One of the reasons I wanted a brand was to have that legacy so that in the future, my kid’s could wear it. I want King’s Ransom to be part of London’s cultural landscape, and if I can achieve that I’d be very proud.
Well guys it’s been an absolute pleasure.
You can check out King’s Ransom’s collections here