Founded: 2000
Creative Director: Lui Onozaki
Current Base: Bali, Indonesia
KMRii was launched in 2000. Creative director Lui Onozaki has continued to draw inspiration from encounters gathered through travel around the world, translating them into clothing while working today from Bali, Indonesia.
2000 — KMRii is launched. Drawing on travel and encounters with different cultures, Lui Onozaki begins developing the brand’s distinctive visual language.
2000s– — Through extensive travel, the brand absorbs elements originating in different places, periods, and cultures—from antique industrial components to ethnic forms. Industrial, mode, antique, and spiritual influences gradually merge into a single vocabulary without clear boundaries.
Present — Based in Bali, KMRii continues to work with natural leather and other natural materials, hand dyeing, garment treatments, and extensive handwork. Variations between individual pieces are not treated as imperfections, but as part of the character of the finished garment.
KMRii carries a sensibility that cannot be traced back to a single place or period. Old industrial fragments, ethnic forms, antiques, and natural materials encountered by Lui Onozaki while traveling are brought together across boundaries and reconstructed into new forms. Rooted in global underground culture, the brand allows these disparate influences to coexist rather than forcing them into a single established category.
At the center of that mixture is a strong attention to material and handwork. Natural leather, hand dyeing, specialized garment treatments, irregular coloration, scratches, and distressed surfaces are not necessarily things to be corrected or erased. Their differences become part of each piece’s expression. The roughness of KMRii is therefore not the absence of refinement, but something closer to irregularity deliberately preserved through meticulous craftsmanship.
This allows apparently opposing qualities to exist at once: industrial and organic, rough and precise, antique and contemporary. Carefully selected materials and modern techniques may produce a garment that still appears to carry the traces of time. Refinement does not have to mean removing every scar or sign of wear. KMRii’s particular beauty lies in allowing those contradictions to remain visible and resolving them into a single form.
What KMRii ultimately gives form to may be less a fixed style than a sensibility created through movement, encounter, and the continual absorption of different things. Fragments gathered from different places and periods are reconstructed through material and handwork until they belong fully to no single culture. The distressed surfaces, scars, and complex layers that remain in KMRii’s clothing become visible traces of that process.