Nicklas Skovgaard — Threads of Memory and Modernity
text Ulrika Lindqvist
Fresh from winning the Wessel & Vett Fashion Prize 2025, Nicklas Skovgaard reflects on the journey that began with a child’s loom and a fascination for self-expression. His eponymous label, defined by sculptural silhouettes and emotional storytelling, continues to evolve from instinct and intimacy, blurring the line between nostalgia and now. In conversation with Odalisque Magazine, Skovgaard shares how character, contrast, and craftsmanship remain at the heart of his creative vision.
Ulrika Lindqvist: Congratulations on winning the Wessel & Vett fashion prize, what are your initial feelings?
Nicklas Skovgaard: Thank you so much. I feel deeply grateful, happy and humbled. Winning the Wessel & Vett Fashion Prize feels like a full-circle moment – a recognition of years of work, curiosity, and persistence. It’s a very big milestone for the brand. More than anything, I feel very motivated – this prize feels like both an acknowledgment of what I’ve built so far and an incredible push toward what’s next.
UL: How has it been being a finalist? Nervous? exciting?
NS: I’ve been both nervous and truly exciting. The Wessel & Vett Prize has always been close to my heart because it actually marked an early turning point for the brand back in 2022, when I was first nominated. Being a finalist again this year feels like revisiting that moment – but now with a much clearer sense of direction. The nerves were definitely there, but mostly because I care so deeply about what I do. It’s an honor to stand among such talented designers and feel that my voice has grown stronger since then.
UL:What initially drew you to the fashion industry?
NS: My fascination with fashion began in childhood. I grew up on a small island in Denmark with no real access to fashion in the traditional sense – no glossy magazines or boutiques – but my mother had a strong sense of self. Watching her get dressed every day, shifting between different characters through clothing, really shaped my understanding of fashion as a form of self-expression. Later, films like Marie Antoinette and The September Issue deepened my fascination – they represented two opposite worlds, romanticism and realism, which I often use to describe my aesthetic today.
Images courtesy of Wessel & Vett
photography Nynne Henriksen/ moon
UL: What motivated you to start your brand?
NS: The brand began almost unintentionally – as an open-ended research project. In 2020, I discovered a small children’s loom in a thrift store and started weaving my own textiles. That process – of turning loose yarns into fabric – completely reignited my creative curiosity. I didn’t set out to start a fashion label, but the more I explored, the more I realized I was building something that felt deeply personal. The brand naturally grew from that place of experimentation, and today it’s still rooted in that same sense of curiosity and storytelling.
UL: What would you say are the three core values that define your brand?
NS: Character. Contrast. Silhouette. These three words really encapsulate my aesthetic. Every collection begins with the exploration of character – the emotional story behind the clothes. Contrasts are central to my process – between textures, emotions, and references. And finally, silhouette – how a garment shapes and responds to the body – that’s where the storytelling becomes tangible.
UL:What is your inspiration behind your designs and this collection in particular?
NS: My inspiration often comes from a mix of personal memory, references and pop culture. My mother in the 1980’s – the ever-evolving eras of my life-long muse Madonna. These are som parts all inform the emotional landscape of my collections. My most recent collection was inspired by the private sphere of the bedroom – how the act of getting dressed, or even how we sleep, shapes the way we get dressed in the morning. I wanted to express that dreamlike feeling of intimacy, softness, and transformation.
UL:Can you share some insights into your creative process?
NS: My process very often begins with the fabric or silhouette. I often start by exploring a textile or silhouette I don’t immediately like, then through research and experimentation, I try to transform it into something I love. Draping and constructing directly on the body are key parts of how I design. I also carry techniques and ideas forward from one season to the next, so the collections evolve like a living vocabulary – each new chapter building on the last.
UL:What are your core values as a designer?
NS: For me, it’s about authenticity, storytelling, wearability and emotional connection. I believe clothes have the power to evoke emotion, to connect people to memories and moments. And I always try to balance creativity with usability – even the most sculptural or nostalgic pieces should feel grounded in real life.
UL: Are there any particular projects or moments in your career that stand out as especially meaningful or memorable?
NS: There are many, but one that stands out is my first runway show in 2023. It was a collaboration with performance artist Britt Liberg – a single performer surrounded by vintage mannequins in a performance-fashion-show about getting dressed and undressed. It blurred the line between fashion and performance art, and it felt incredibly true to my vision. Another highlight was our recent 7-hour long performance at Dover Street Market Paris during Fashion Week. Seeing the brand represented internationally – and witnessing people connect emotionally to the work – was a very special moment.
UL: Looking ahead, what’s next for you? Are there any upcoming projects or goals you’re particularly excited about?
NS: I’m very focused on thoughtful growth – scaling the brand while staying true to its creative foundation. With the Wessel & Vett Prize, I plan to invest in strengthening our international sales strategy and expanding our retail network in a thoughtful way. Creatively, I’ll continue to evolve the narrative side of my collections – exploring how storytelling and clothing can merge even further.
