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Kim Kardashian Enlists Harmony Korine for Out-of-This-World SKIMS Swimwear Campaign

Just in time for the 10th anniversary of "Spring Breakers," Kardashian collaborated with the auteur.

Kim Kardashian, Harmony Korine

Kim Kardashian, Harmony Korine


Kim Kardashian is living out spring break forever.

The “Kardashians” reality star and multi-hyphenate mogul enlisted “Spring Breakers” director Harmony Korine for a sultry SKIMS photoshoot to mark the latest 2023 swimwear collection.

“I know you guys have been waiting,” Kardashian captioned. “@SKIMS Swim is finally coming back! Get ready for our biggest launch ever with all-new out of this world styles and colors you have to see to believe, plus the return of sold-out favorites on February 21.”

Kardashian poses alongside scantily-clad extraterrestrials in a series of swim and resortwear looks, including neon green bathing suits to match luxury cars in a Miami-centric campaign.

Writer-director Korine’s 2013 film “Spring Breakers” was a pivotal fashion moment, with cutout ski masks and bikinis becoming a go-to Halloween costume for the last decade. Korine, best known for “Kids” and most recently “Beach Bum,” cast wife Rachel Korine, Vanessa Hudgens, Selena Gomez, and Ashley Benson as a group of college friends who become entangled in a life of crime during spring break in Florida. Gucci Mane and James Franco also starred.

Kardashian clearly is paying homage to the viral film upon its decade anniversary. The Hulu star tagged Korine’s upcoming project “EDGLRD SS23,” that simply says “coming soon” on its homepage.

“It’s weird, in some ways it’s not meant to be a movie purely about spring break,” Korine previously told IndieWire. “Spring break is a metaphor for the rest of the story and some ways representative of that dream that you’re talking about. Things seem perfect at first, for one day. The longer you go, the more horrible it gets, and then it veers closer to the feeling you experiencing in the film. But yeah, I wanted the movie to have that feeling; be a reinterpretation of that world.”

He continued, “We wanted the film to have this boozy, liquid narrative vibe to it. I wanted it to be images and sounds coming back, this kind of propulsive, frenetic and murky narrative. It was more about capturing this specific energy, something more wild and more closely replicating a drug experience. Something that was more hallucinatory, transcendent, more physical, emotional, you know, and at the same time make it exciting.”

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