portrait of cheyennekimora against a blue backdrop, reaching downward with one hand on thigh and the other on lower calf

becoming cheyennekimora

A conversation between creation and reflection — where legacy, intention, and self-discovery shape the hand behind the atelier.

photographer: nigel elliott

close-up of heel lifting off the ground as if beginning a sprint.

the designer.

Cheyenne Kimora is a self-taught designer redefining the boundaries between fashion and art. Born in Brooklyn, raised in Florida, and now based in Los Angeles, Cheyenne brings a bold, Caribbean-rooted vision to each handcrafted piece. Her work centers around crystal embellishments—meticulously applied by hand to denim, accessories, and ready to wear—transforming everyday items into wearable art.

editorial portrait of cheyennekimora seated with arms resting on one knee, head leaning into arms.

In this intimate conversation, the designer sits down with her namesake brand to reflect on her evolution — tracing the threads that connect lineage, process, and becoming. Together, they explore how opulence and vulnerability coexist, how silence shapes creativity, and how legacy continues to guide the hand behind the atelier.

cheyennekimora crawling partially out of frame, captured in a transitional pose titled “the awakening”

The Awakening.

CK: You recently opened the doors to your atelier for the first time through The Opulent World of CheyenneKimora. What did that moment signify for you?

Cheyenne:
It felt like I was finally breathing again — not in the sense of returning, but expanding. For a long time, I worked quietly, in isolation, unsure if the world would understand what I was building. The Opulent World wasn’t just a launch — it was a reveal. It marked the moment I stopped waiting for validation and started honoring the space I had already created.

three-quarter pose of cheyennekimora kneeling, arms and legs forming sculptural shapes, face out of frame
standing portrait with one knee subtly bent toward the other

the process.

CK: You recently opened the doors to your atelier for the first time through The Opulent World of CheyenneKimora.What did that moment signify for you?

Cheyenne:
Time teaches me patience and reverence. The process of hand-beading is meditative — it’s slow, repetitive, and deliberate. It forces me to listen. Sometimes, I don’t realize what a piece is trying to say until I’ve been with it for weeks. I think that’s what makes it alive — the energy that builds between my hands and the material. It’s less about design and more about dialogue.

cheyennekimora seated on the ground, arms lifting the body slightly while wearing sunglasses and looking toward knees
squatting portrait with head gently tilted and arms crossed

the lineage.

CK: Your father and grandmother were both photographers and designers. How does that legacy echo through your work today?

Cheyenne:
They taught me how to see — not just what’s in front of me, but what’s beneath it. My grandmother photographed people from our community, capturing the kind of beauty that lives in everyday life. My father had this way of finding stillness — turning ordinary moments into something cinematic. From them, I learned composition, patience, and reverence for light. I think that’s why I approach fabric the way I do. It’s the same practice of framing — only instead of film, I’m working with reflection, texture, and time.

full-body standing shot of cheyennekimora looking upward toward light with arms behind the back

The Opulence

CK: Opulence has become a defining language for your brand. What does it mean to you beyond its visual splendor?

Cheyenne:
For me, opulence isn’t about excess — it’s about intention. It’s about treating every detail with care, whether it’s a crystal on denim or the way something catches light in a room. Opulence is choosing beauty, even in small or unseen spaces. It’s the language I use to remind myself that softness can be strength.

close-up of a foot stepping forward and slightly off the ground, titled “the becoming”

The Becoming

CK: Looking back to when you first began hand-sewing crystals, what would you tell that version of yourself now?

Cheyenne:
I would tell her to trust her hands. That everything she’s searching for — the validation, the belonging — will find her when she starts creating for herself again. Every stitch she makes will eventually tell the story she couldn’t yet put into words. And that the quiet seasons weren’t wasted — they were sacred.

← return to the opulent world of cheyennekimora