Kim Mesches crafts wearable sculptures that push the limits of material and form

Taken from SYKY Magazine: Issue 02's “Materials for the Future” series, which features radical designers pushing technology to create new materials that redefine how we wear and interact with fashion. Collect the digital cover now.

Kim Mesches is known for his fluid, sculptural creations that push the boundaries of material and form. A New York native, Mesches draws on his diverse background in fashion design, styling, and art to create colorful, tactile, works using a range of materials – resin, metals, acrylics, silicone, and “anything else I can think of”. From crafting custom pieces for the likes of Marina Abramović to designing large-scale, ocean-inspired installations, and releasing collections of wearable, color-changing art, Mesches' practice is constantly-evolving.

Collection 6, the multidisciplinary artist's latest offering, launched this week and deepens his exploration of light, color, and materials. Featuring wearable pieces that blend futuristic cyber surrealism with nature and art, the collection highlights his love for transformation, with the artist using chemical reactions, heat, and other processes to alter the materials used in his signature sculptural and organic shapes.

How did you first get into working with experimental materials and techniques?

Kim Mesches: As well as fashion design, I have a background in styling. I assisted so many stylists in New York and, during that time, I started making my own pieces for editorials that I wanted to shoot. One of my first black cast pieces was actually used by Nicola [Formichetti, SYKY's artistic director] for V Magazine with Jillian Mercado. I kept experimenting and found my way through that experimentation.

You created a custom resin piece for Marina Abramović in 2023. How did it feel to see such a legend wearing your work?

Kim Mesches: It was a moment I'll never forget. It was for Luigi and Iango's photobook Unveiled and the ideas that they were exploring with Marina were based around life and death, rebirth and decomposition of materials. So I made a ton of pieces, which I brought to the set where we built the look around her. The final piece was made from hand dyed material, epoxy, crystals, iridescent mica powder, pink Himalayan salt, and beads. She was so nice and collaborative, loved the work and wanted to experiment. Creating in that way with such a legend was an amazing experience. It felt like we were just playing in the moment, working together and the end result was so fantastic.

How has your work developed since then?

Kim Mesches: My creative practice has expanded beyond fashion in the last few years; I've been doing more design work. My goal is to open a cross-industry design studio, working with brands in other industries like lighting and industrial design to create not only wearable pieces but also large-scale sculptures.

Are there any new materials or techniques you're experimenting with at the moment?

Kim Mesches: I've just launched Collection 6, which expands and explores materials, light, and color. Across the collection, I fuse wearable pieces with metallic elements and natural materials, pushing the boundaries of what happens when those components interact.

One technique that I love is the use of copper and patina. I discovered this copper coating, which is a mix of different materials, including an acrylic resin that's combined with metal particles to act almost like a paint. When it's activated using copper chlorides, oxides, and other compounds, it reacts to turn a bright teal over 24 hours. I used it as an all-over coating on layers of yarns and resin to create an unnerving mask piece. I also use heat-activated silicone across the collection, which allows pieces to transition from bright red to yellow or black to pink, adding a dynamic, ever-changing quality to the works.

What is it about the copper patina technique that you enjoyed using so much?

Kim Mesches: I love exploring the chemical reactions and properties of different materials. I did so many tests before doing the real pieces; in the beginning, they reacted too heavily, creating a white effect. You have to figure out the balance between how many layers of metal and how much chemical to use. The unpredictability of the chemical reaction is what I find exciting. I can't wait to get the collection out there and in the hands of creatives. My favorite thing is seeing how they use the pieces in their own editorial works. It's awesome.

What’s something you want to see more of in your industry this year?

Kim Mesches: I want people to observe craftsmanship more. So much goes into people's work, but everybody's so fast to pass through. There's so much content that it's a quick “Like”, but I wish the industry would see and appreciate the details more. Slow down and notice the little things. Everything is so overwhelming; it would be nice to pause for a second.