IYMAA, The First Chapter

Tailoring and fluidity come together in a debut grounded in perspective rather than trend

Abdullah Alkhorayef arrives at fashion from a different place. Trained as an engineer, his approach carries a certain clarity, but the work itself is shaped by something less measurable, memory, emotion, and the quieter ways identity reveals itself over time.

With IYMAA, he introduces a label that resists a conventional starting point. It does not position itself around trend or seasonality, but around a way of thinking about clothing as something lived in and carried forward. The brand is conceived as a space as much as it is a collection, bringing together creatives across disciplines, individuals who approach design as expression rather than surface.

The debut collection, Lost in Time, sets the tone. It moves through the idea of transition, not as disruption, but as something continuous. The pieces hold a balance between structure and softness, tailoring that feels present without becoming rigid, silhouettes that follow the body without restricting it. There is a sense of familiarity, but it is never literal.

What stands out is the control. Nothing feels excessive. The garments hold their presence through proportion and construction, allowing subtle references to surface without being overstated. Texture is layered carefully, creating depth that reveals itself gradually rather than all at once.

Alkhorayef’s perspective comes through in how the collection is resolved. Each piece feels considered in how it moves, how it sits, and how it is worn. The focus remains on the wearer, on how clothing can shape the way someone carries themselves without drawing attention away from them.

“I have always been drawn to the idea that clothing can transform how we move through the world,” he notes. It is a straightforward statement, but it carries through the work. The collection does not attempt to define identity. It allows space for it to shift.

The first presentation of Lost in Time reflected that same approach. Shown during The Qode Press Day, the collection was introduced in a setting that allowed for proximity. Guests moved through the pieces at their own pace, observing the construction and material up close. It was less about presentation, more about encounter.

There is a broader ambition behind IYMAA that extends beyond the garments themselves. From the outset, the brand is built around a creative dialogue, drawing in artists, photographers, and musicians who contribute to its evolving language. It is structured to remain open, allowing different perspectives to shape what comes next.

This is where the brand begins to position itself more clearly. Within Riyadh’s growing fashion landscape, IYMAA does not attempt to compete through scale or visibility. It builds through consistency, through a point of view that is carried across each decision, from design to presentation to the way it engages its audience.

The digital space will play a role in extending that. The forthcoming website and social platforms are conceived not simply as points of access, but as an extension of the brand’s visual and conceptual language. A place where the collection can be understood in context, rather than in isolation.

For Alkhorayef, this is an opening rather than a conclusion. Lost in Time introduces the framework, but it leaves space for the work to evolve. The themes remain close, identity, culture, memory, but they are not fixed.

IYMAA moves forward from here with a clear sense of direction. Quietly built, but fully formed.