Author name: Odalisque

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. 

ODALISQUE MAGAZINE INTERVIEWS Susan Szatmáry text Jahwanna Berglund Known for her quietly luxurious handbags, Susan Szatmáry is expanding her world. With her first footwear collection, she translates the architectural lines, thoughtful detailing and enduring quality that define her bags into a new form — one designed to move with the woman who wears it, not just for a season, but as a lasting wardrobe staple. Images courtesy of Susan Szatmáry You’ve long been celebrated for your elegant handbags and leather goods. What was the moment or inspiration that made you decide it was time to step into footwear?   I launched Susan Szatmáry at the end of 2018, starting with bags since I knew how expensive and complicated it is to make shoes with the stock and sizing. Bags are much easier to place and prototype. Things went slowly and organically, and now we have made a name.   Having previously designed both footwear and bags for other brands, Szatmáry adds, “I can design shoes with my eyes closed.”   It might seem risky to introduce something new in uncertain times, but this expansion was always part of my vision. After years working for houses such as Alexander McQueen (under Alexander Mcqueen himself), Celine, and Rabanne, I wanted to build a world of my own. After growing organically and really getting to know our clients, it felt natural to take the next step. I wanted to bring the same lines, accessories, and colours from the bags into the footwear like it used to be a long time ago. Many of our clients have asked for matching shoes and bags, so I felt there was a true need in the market. Designing shoes brings a new set of challenges. Which part of the footwear process (fit, materials, prototype, scale) surprised you most, and how did you overcome it?   Our message has always been less logo, more quality and functionality, and we apply that same philosophy to our shoes. With footwear, we’ve added comfort and collaborated with the best factories with over 60 years of experience which allowed us to easily balance design and cost.   For some models, we’ve even used stock leather from the factories that was leftover from previous collections to create something beautiful and sustainable, without unnecessary waste.   Your handbags are known for understated luxury and timelessness. How do you carry those same brand values into your new footwear collection, while allowing it to have its own identity?   We always work with slow design, avoiding trends. For the shoes, comfort and practicality are essential, just like with our bags. We bring the same design codes, the same accessories, and the same mindset. You’ve worked on leather goods and accessories at major houses and even helped define the leather standard at Byredo and Toteme. How has that experience informed your approach to shoes, and what lessons did you bring (or unlearn)?   Price sensitivity is an important subject today. You can’t burn your entire budget on prototypes. It’s better to have a clear vision from the start and focus on the final product rather than spending time and money on unnecessary developments. That’s something I’ve learned through experience.   (Susan Szatmáry shoes range from €490 to €650.) Paola and the patterncutter Piero In your launch collection, you emphasize “classic, comfort, and cost-efficiency.” How do you personally draw the line between artistry, wearability, and accessibility when designing a piece?   It’s simple. When I design, I always ask myself: Would I wear it? Do I love it? I never create something without imagining myself carrying or wearing it, even though I would love to wear every single piece in our collection. Looking ahead, what’s your dream pairing — a bag and shoe combo you haven’t made yet, and why does it excite you?   When I design shoes, I go old-school. I do deep research in the library and study what our customers are wearing. Since they often ask for matching pieces, it makes complete sense.   For me, designing a shoe line that can be paired with our bags without focusing on super-high heels is exciting. I love the idea of a woman wearing our loafers together with the Mini Palais Royal, or the Temple Clutch with the Pont de Sully Décolleté for example. The goal is to create timeless combinations that last for years, not just a single season. www.susanszatmary.com