Vijat Mohindra
Over the past few years, Kerwin Frost, the creative from Harlem who wears many hats (DJ, talk show host, designer, and more), has collaborated with major brands in very specific, unconventional ways.
For Adidas, he’s produced a superstuffed version of its classic shell toe sneaker along with a Yeti suit. At ComplexCon this year, he worked with multiple brands to produce Kerwin’s Kingdom, a cardboard castle that featured special pieces from his personal wardrobe up for sale, a mini exhibit dedicated to iconic outfits—including Lil Nas X’s pink Versace ensemble he wore to the Grammys—and a performance area where important acts like Onyx, Mac DeMarco, and Tommy Wright III took the stage.
“I think a lot of people try to gatekeep references,” says Frost over the phone. “It’s like gatekeeping the answers, those vessels of inspiration. But me and you know. We know why Run-DMC makes sense with the Adidas superstuffed shoe. So it’s like saying it out loud. I’m really just a messenger.”
Kerwin’s Kingdom also included a snack room sponsored by 7-Eleven that featured free snacks from the retailer, along with a concoction Frost created with them: Kerwin’s Snack Party Mix Popcorn that consisted of white chocolate popcorn, candied chocolate pieces, cinnamon toasted cereal and chocolate cake mix. The collab could have ended there, but they continued to work together on a snack uniform designed by Frost with 18 pockets to hold snacks. The uniforms come in a pink and green colorway and consist of a jacket, long-sleeve top and wide leg pants. Frost could have easily produced merch, but he wanted to create something special that people could also wear.
“I like to make art with companies and show that it is possible to get these creative ideas across with a collaboration,” says Frost.
We spoke with Frost about his strategy for working with larger companies, what he wants to see more of in 2022, why he loves Robert Townsend’s Carmen: A Hip Hopera, and how Virgil Abloh’s death impacted him.
So talk to me about the 7-11 collab. I thought the uniforms turned out really well. But what was the goal?
I think the goal going into any of the partnerships is to create these magical moments that people would kind of just look back at and question if it was real or not. I like to make art with companies and show that it is possible to get these creative ideas across with a collaboration. With 7-11, I’ve always been a fan and I grew up with it. So when I got the chance to make something with them, it was amazing. And, originally, we were just gonna make a snack. But we got to thread that through with the look and not just make a sweatsuit or something, we got to make this complete uniform. So showing that it was possible, making it as cool as possible, and making it something that anyone can kind of wear as well.
I was very impressed with your Kerwin’s Castle concept at ComplexCon. And how you were able to get all of these performers like Onyx and Tommy Wright III who aren’t top of mind for people but still important. How are you getting brands to believe in your vision?
That’s amazing. Thank you. Well, me and my wife actually put that together in, I think it was like 90 days.
Erin Yogasundram: It was 30 days.
KF: Oh. Sorry. Every day I just keep on going, so I have no recollection of time at this point. But we put it together in 30 days, and what I love about ComplexCon is that you kind of have the opportunity to build a world of your own, and everybody kind of does their own version of that. And we just wanna make it as special as possible. And, normally, it comes from me. I work with a super small team so it’s just me and my wife. We just concept things out and figure out how to make it possible.
I think we’ve lost a lot of icons and legends lately. And I feel like OGs only get respect when we decide as a community to give them that homage. But I try to do that for things I’m genuinely into, because I know there has to be another kid that is too. So like Onyx and
Mac DeMarco. Seeing that is important. So I wanted to curate what my version of a festival would look like. But it’s just me and my wife, and we’re able to work really closely with the companies we talk to, and we see all parts of the business. But we go into it and we are like, “Hey, we understand what you guys are trying to get out there. How can we make this as special as possible for anyone who sees it?” We don’t want to make it weird inclusive. And I think a lot of people try to gatekeep references.
What do you mean by gatekeep the references?
So many people do know about Tommy Wright III, but people don’t post that. When people DJ, they don’t tell you what they’re playing. It’s like gatekeeping the answers, those vessels of inspiration. But me and you know. We know why Run-DMC makes sense with the Adidas superstuffed shoe. So it’s like saying it out loud. I’m really just a messenger.
So this is very specific, but I was looking at the lineup for your 2nd Annual Film Festival, and I thought it was a great selection of movies, but I wanted to know why you selected Carmen: A Hip Hopera.
[Laughs.] I showed that movie year one and year two of the festival. That was, like, the first movie my wife showed me. But it was also a huge inspiration. And even with the film festival, it’s the same goal. It’s like, “Hey, these are like just the movies I’m into.” I’m not just showing whatever is big in underground niche culture. Carmen is amazing. I met Mos Def at Virgil’s Off-White show in Paris. And I went up to him so excited with Erin and I was just like, “Oh my God, I loved you so much in Carmen: A Hip Hopera.” He thought I was trolling him or something. He got pissed. He was tight. I’m bringing up Carmen in Paris. Like, come on.
Speaking of Virgil, you had a really beautiful caption after his passing. How do you think his death will change you, or things in general?
I think his death has changed everything. I don’t think I’ve, like, fully even taken it in, and I’ve just been trying to focus as much as possible. It’s heavy. It’s really crazy. But just like I said in the caption, when he was alive, I would hit him up randomly and tell him these things. And try to match my version of his work ethic. He was a huge catalyst in showing us how to work with companies and getting weird ideas out. And taking a lot of stones and still doing it. It’s like a superhero. He was able to make everyone feel so close to him. But a lot of people came together for the show in Miami, and I think everyone is like, you have one life to live. You have to impact as much as possible. But I’ve always tried to show that and he’s always been an inspiration for that.
It’s clear that you are a student of the fashion industry. You observe it very intently. So I am curious from your perspective what you think is missing. What do you want to see in 2022?
Before there was a lot missing from the game on the corporate side, and with corporate acceptance and getting the infrastructure and being able to produce your ideas. But honestly, I think in 2022 and the access that we have right now, there’s so much, and I don’t think it’s been fully utilized. People are making fake Jordans on Alibaba. When we were growing up, it was just like sweatshirt, sweatpants, and T-shirt, and that’s your brand. But now you can make rugs, you make knit sweaters. The access is insane. I think the gates are opening more and more for creatives. But when you ask what is the point of it all, you can spend hours trying to get that answer. But the point is to inspire as many people as possible and pass along that blessing. I know there’s some kids who definitely look like me that are like me. And I think there’s a bigger responsibility with creatives to come together more and take ownership of what was built. You know a lot of people went on these independent side quests. But we forgot about the community. So if there’s anything to take away, that’s definitely it. Just bringing more people together and it not depending on like, clout or status. Just like the art and genuine connection. It’s possible now. There are lots of opportunities for it.