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Author name: Odalisque

Fashion Articles

All The Love – An Interview With Stefan Pagréus

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text Natalia Muntean images courtesy of A Day’s March   “Things always seem to fall into place around Jan,” says Stefan Pagréus, co-founder of A Day’s March. The Swedish brand launched its second collaboration with the celebrated artist, this time centred on the dreamlike painting Skogen (The Forest). For Pagréus, the project is as much about chance encounters and conversations as it is about clothes: “When we do these collaborations, we can tap into something bigger. Art and culture can be transformative, and fashion can share in that.”   Natalia Muntean: This is your second collaboration with Jan Håfström. How did it all start?Stefan Pagréus: The first one really began when I passed his Mr Walker statue at Central Station. I thought it would be interesting to transform that coat into a real garment, because the painting it came from has this straight, grid-like, almost modernistic quality. I reached out to Jan, but didn’t hear back for a long time. Then one Friday night, several months later, he suddenly called and said he was interested. That was the beginning of a long discussion, which led to the first project and also to us becoming close friends. That project had a wide scope; we touched on many aspects of his work. This time, we wanted to narrow it down and focus on just one piece: Skogen. I’ve always loved that painting. It’s beautiful and sublime, a little bizarre and dreamy at the same time. And it’s also one of his early works, not the kind of thing people usually associate with him. NM: What was it like to revisit the painting with him after so many years?SP: It turned out to be quite a coincidence. We had already planned the project around Skogen when Moderna Museet decided to showcase it again. The painting had been in their archive since the 60s and was shown once in the 80s, but Jan hadn’t seen it for decades. So we took him there. Watching him stare at it, studying the details, was really moving. It was also a key work for him, the first painting Moderna bought, so it carried that weight as well. NM: You’ve said Håfström makes you “doubt higher powers” because of the serendipities around him. Did this project feel destined in some way?SP: Yes, things often just happen around him. With Mr Walker, we launched the collection on the very same day Russia invaded Ukraine. Suddenly, that character, which in his paintings is like a hero or Jesus figure, became a call to be a good force in the world. It gave the whole project another dimension. I think Skogen will also come to mean something different to what we first imagined. That’s Jan’s own attitude: let’s find out what this can be.   NM: A Day’s March has also collaborated with artists like Owe Gustafson and Lisa Larsson. What draws you to these projects?SP: They’ve come about from different angles. Owe was actually my teacher in the 90s, and his work connects so much to our childhood in Sweden that it felt natural to do something together. With Jan, it started when I reached out after seeing the Mr Walker statue. And with Mike, my colleague Rasmus began a dialogue, and we simply gave him blank garments to use as a canvas, which he painted, distorted, and worked on by hand. What unites them is curiosity. We’re curious about their world, and they’re curious about ours. That creates a really interesting dynamic. We don’t have strict rules; something just has to catch our eye and make us want to have a conversation. If that dialogue feels inspiring, it usually becomes a collaboration. NM: Håfström describes Skogen as a “lost world” from his dreams. How did you translate that emotional and surreal quality into wearable designs and objects?SP: In different ways. Some pieces use the image directly, like the blanket, which is almost a full recreation of the painting. In others, we zoomed in on certain details to create abstract patterns. We also built a camouflage-inspired print from its elements. Beyond clothes, we wanted to explore other sensory dimensions. We worked with Candelize to create a scented candle that smells of the forest, flowery but also smoky, tar-like, with a campfire note. We collaborated with a Swedish axe-smith to produce a small series of hand-forged axes, which Jan then painted himself. Tools like that recur in his work, alongside figures like Christ or Robinson Crusoe, so it felt deeply connected to his world.   NM: A Day’s March is known for minimalist, functional design. How do these artistic collaborations fit?SP: Normally, we do straightforward clothes: clean-cut, timeless, not very expressive. Collaborations like this allow us to show another layer, something more than clothes. It’s not really a break from our identity, more an expansion of it. Our everyday pieces are almost anonymous; with these projects, we get to show who we are behind the brand, our interests in art, culture, and ideas. We also enjoy the process. With Jan, it’s always inspiring conversations. Sometimes he even digs up forgotten paintings from his studio and says, “This connects to what we’re doing.” It’s very collaborative and playful. NM: You also work as a psychologist. Does that perspective influence your approach to fashion?SP: Clothes can absolutely be a psychological tool. They can be self-expression, armour, or comfort. At A Day’s March, we say we make clothes for the “triumphs and troubles of everyday life.” That’s the practical side. But when we do these collaborations, we can tap into something bigger. Art and culture can be transformative, and fashion can share in that. Nature plays into this, too. In Scandinavia, the forest is almost like a church. It’s central to who we are, and also deeply healing. There’s research about the psychological benefits of being in nature. I think Skogen speaks to that – its mysterious, dreamlike quality is also about intimacy and solitude and maybe finding comfort in both. NM: You

Fashion Articles

A Dialogue in Couture: Inside the Dual Tribute to Azzedine Alaïa and Christian Dior

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A Dialogue in Couture: Inside the Dual Tribute to Azzedine Alaïa and Christian Dior text Jahwanna Berglund images courtesy of La Galerie Dior and Azzedine Alaïa Foundation There are encounters in fashion that happen outside of time. They begin as quiet fascinations, grow into lifelong devotions, and ultimately leave behind a shared legacy that feels larger than the two people who shaped it. This autumn in Paris, La Galerie Dior and the Azzedine Alaïa Foundation opened the doors to such a conversation, presenting a dual exhibition that traces the profound connection between two couturiers who never stopped studying each other from a place of deep admiration. Azzedine Alaïa was a collector long before the world understood the extent of his devotion. Behind the walls of his discreet Paris studio, he spent decades building a private archive that reflected his reverence for those who had mastered the language of couture. Among these treasures, the works of Christian Dior held a singular place.Today, the Azzedine Alaïa Foundation preserves almost six hundred Dior pieces, gathered over a lifetime with the sensitivity of someone who understood how much a seam can reveal and how a silhouette can hold a dream. More than one hundred of these creations are being shown to the public for the first time at La Galerie Dior. Seen together, they speak not only of Dior’s vision but of Alaïa’s devotion. They feel like love letters to a designer he saw as an early guide, a compass in his own search for beauty. As Olivier Saillard, director of the Azzedine Alaïa Foundation, writes, Christian Dior’s dresses were objects of magic to Alaïa. He chased the secrets of their construction with the curiosity of someone who believed that every garment contains a hidden architecture, one that invites you to imagine the woman it was made for. Across the city, the Azzedine Alaïa Foundation offers a complementary perspective, placing around thirty Dior creations collected by Alaïa alongside a selection of his own designs. The dialogue between the two is striking. Dior’s New Look, with its sculpted waist and generous volume, seems to meet Alaïa’s exacting lines and body conscious silhouettes with a kind of gentle familiarity. It is as if the two couturiers were speaking the same language, separated only by time and culture, yet forever connected by their pursuit of form, structurea and the dignity of craft.   Alaïa once spent a few days in the Dior ateliers in 1956. An experience he remembered with affection and awe. He never forgot the discipline of the workshops, the precision, the almost reverent attention to detail. That brief encounter stayed with him, resurfacing years later in the pieces he created and in the pieces he collected. The exhibition reveals how those memories echoed in his work and how the codes of Dior found new expression through Alaïa’s hands. Curated by Olivier Saillard with Gaël Mamine, the double exhibition does more than present two masters of couture. It allows us to see history through the eyes of a collector who understood both fragility and power. The result is a study of correspondences, a delicate mapping of influence, respect and shared imagination.   Together, these exhibitions remind us that fashion is not only an industry or a spectacle. It is a lineage built stitch by stitch, shaped by people who see clothing as a form of memory. Alaïa preserved Dior’s work because it taught him something essential. Dior inspired Alaïa because he showed that elegance can be both disciplined and emotional. In bringing their stories together, Paris offers a rare chance to witness a conversation that spans decades, yet feels as alive as ever. It is couture not as nostalgia, but as a living exchange. A meeting of minds that continues to resonate – quiet and powerful, in every thread.A rare dialogue between two masters, and worth a trip to Paris on its own. Do not miss it.

Art

Aftermath of Paris Art Week 2025 

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Aftermath of Paris Art Week 2025 – Echoes of Nature, Music, Human Interaction and Glass text Eva Drakenberg & Matilda Tjäder From «Exposition Générale». La Fondation Cartier pour l’art contemporain, 2 place du Palais-Royal, Paris. © Jean Nouvel / ADAGP, Paris, 2025. Photo © Martin Argyroglo. Open until 23 August 2026. Last month, the city of love gathered artists, enthusiasts, and collectors from all over the world, where Stockholm Art Week joined the rhythm of Paris Art Week. Looking back at the spectacular works experienced across galleries, foundations, and, of course, the ever-iconic Art Basel at the Grand Palais, we feel a sense of hope for the future. The exhibitions encouraged us to reflect on our relationship with nature and our behaviour in modern society, while allowing us to hold hands with the past when reality feels a bit too scary. Heading to Paris any time soon? Lucky you – many of the shows are still up and running. INTERDISCIPLINARY DIALOGUES Through a rich variety of expressions, we observed a recurring desire to explore the intersection of science and culture in our understanding of the natural world. By merging realms we often study in isolation, we are invited to embrace an interconnected, three-dimensional worldview. The reopening of the Cartier Foundation served as a symbol of this thematic shift, with its three-floor space fostering dialogue between architecture, nature, the act of making, and fiction. What happens when we begin to view matter through the dual lenses of emotion and logic? Likewise, at Art Basel inside the Grand Palais, many young artists echoed these conversations through a rich variety of perspectives. The Stockholm/Paris-based gallery Andrehn-Schiptjenko showcased Swedish artist Sally von Rosen, who elevates the spiritual dimension of material by emphasising the bronze sculpture’s own agency and emotion. Meanwhile, a visit to the Perrotin Gallery in the Marais showed The Sun Splitting Stones by the phenomenal India-based artist Bharti Kher, whose paintings and sculptures explore similar dialogues. We highly recommend visiting it. On the left: Sally von Rosen. « Motherform ». Installation view Andréhn-Schiptjenko Art Basel Paris 2025. Courtesy of the Artists and Andréhn-Schiptjenko © Joe Clark. Exclusive for Stockholm Art Week. From Bharti Kher.  « The sun splitting stones ». Photo: Tanguy Beurdeley. ©Bharti Kher / ADAGP, Paris, 2025. Courtesy of the artist and Perrotin. Open until December 20th. SOUNDS OF MUSIC The city of Paris is known for effortlessly merging art forms, which we saw in the interplay between visual art and music. We were delighted to see the Philharmonie de Paris and Centre Pompidou join forces to produce the astounding Kandinsky exhibition La musique des couleurs. Visitors are invited to explore Kandinsky’s impressive collection of over 200 works, highlighting the spirituality of colour while listening to his musical references, from Wagner to Schoenberg. Incorporating piano notes was also recently explored more abstractly at the Marais gallery Chantal Crousel, with Mexican artist Gabriel Orozco’s solo exhibition Partituras. In other words, for a music lover, the art scene in Paris may feel especially exciting right now.     From Philharmonie de Paris. « Kandinsky ». La musique des couleurs. » Own photo. Open until February 2nd 2026. From Gabriel Orozco.  « Partituras ». Courtoisie de l’artiste et de la Galerie Chantal Crousel, Paris. | Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo: Jiayun Deng — Galerie Chantal Crousel . From Elmgreen & Dragset. Massimodecarlo Gallery. Exclusive for Art Week 2025. Photo © Thomas Lannes courtesy MASSIMODECARLO. Exclusive for Stockholm Art Week. INTERACTIVE ART Interactive art stood out as a truly wholesome observation during the week, with several exhibitions revealing something intimate about our own everyday behaviour. Overall, we felt a renewed appreciation for the arts’ ability to create spaces for self-reflection and to question our individual roles within the collective society. A favourite of ours was the hyperrealistic sleeping sculpture showcased in the Massimodecarlo gallery window, created by the dynamic Scandinavian duo Elmgreen & Dragset. When we first passed the Marais gallery, we gasped, thinking it was an overworked or perhaps even a little over-partied gallerist. Trying to wake her up, we finally found ourselves laughing with other confused Parisians. It made us reflect on civil courage, the complexities of today’s gallery scene, and the delicate balance of everyday work life. Similarly, the iconic École des Beaux-Arts de Paris presented an interactive experience with its Objects Trouvés installation by Harry Nuriev. Visitors were invited to bring a personal object from home and exchange it for something new within the grandiose Chapelle des Petits-Augustins. The installation prompted reflection on how deeply personal materialism can be, even when it often feels homogeneous. After all, we are each drawn to different objects shaped by our own memories and personalities.  From Harry Nuriev, « Objets Trouvés », Les Beaux-Arts Paris. Own photo. Exclusive for Stockholm Art Week.   BLURRY MEMORIES Speaking of memories, we saw exhibitions that explored the complex theme through both abstraction and objects. At Foundation Louis Vuitton, we were blown away by the Gerhald Richter exhibition showcasing an exceptional retrospective of 275 works stretching from 1962 to 2024. Known for his blurring technique on photo-inspired oil canvases, we are reminded of the uncertainty of our collective memory. While at the Swedish Institute, Tarik Kiswanson explores memory through the language of objects. Instead of resolving historical contradictions, he exposes them and their lasting impact. From Fondation Louis Vuitton. Gerhard Richter. Own photo. Open until March 2nd 2026. From Institut Suédois. Tarik Kiswanson.  « The Relief ». (Steinway Victory Vertical, 1944), 2025. Courtesy of the artist and Sfeir-Semler Gallery. Photo: Edward Greiner. Open until January 11th 2026. GLASSMANIA  Strong. Fragile. Poetic. Glass as a medium of expression is becoming increasingly popular to exhibit, introducing a deeply personal dimension to an artist’s creative expression. Unlike working with other materials, glass is literally on fire, requiring high control and trust among collaborators. During Art Basel, in a setting like the Grand Palais, gleaming glassworks were instantly eye-catching beneath the iconic roof. Outside Grand Palais,

Fashion Articles

Stefano Genco on Nuance Audio and the Future of Smart Hearing Technology

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Stefano Genco on Nuance Audio and the Future of Smart Hearing Technology text Ulrika Lindqvist image courtesy of Nuance Audio EssilorLuxottica introduces Nuance Audio Glasses — a seamless fusion of style, technology, and medtech innovation. Designed for those with perceived mild to moderate hearing loss, the glasses combine refined aesthetics with groundbreaking sound engineering, offering both clear vision and enhanced hearing in a single, beautifully crafted frame. Nuance Audio marks a major step forward in wearable technology: an open-ear hearing solution discreetly integrated into smart eyewear. Classified as an over-the-counter medical device in the European Union, the launch defines a new category within medtech, addressing a long-overlooked global need. With an estimated 1.25 billion people worldwide experiencing mild to moderate hearing loss, Nuance Audio aims to remove the barriers of stigma, comfort, and accessibility, proving that hearing support can be as elegant as it is empowering. Our fashion editor, Ulrika Lindqvist, attended the London launch and panel talk, where she met with Stefano Genco to discuss the journey behind Nuance Audio and the future of smart hearing technology. Ulrika Lindqvist: Have you worked with EssilorLuxottica for a long time, or did you come in through Nuance Audio? Stefano Genco: I was working at Amplifon, the global leader in hearing solutions. My boss called me one day and said that he had found the company that can integrate this technology, and “I need you”. We already shared the same vision after several conversations, and he felt I was the right person for the project. That was exactly three years ago. I joined, we finalized the acquisition, and then started hiring engineers and building the team. UL: How did the development of Nuance Audio begin? SG: We started by building our own supply chain. It’s not entirely separated from the one used for traditional eyewear, but since we were now dealing with electronic devices rather than standard glasses, we needed specialized equipment. Everything was a challenge for us. We were familiar with the project with Meta, but the proportion of prescription lenses we deal with is much higher, over 80% of these glasses come with prescription lenses. We had to learn how to mount lenses on an electronic frame, which was not easy. It was the first time in our history that we needed to perform these operations at store level rather than in a production facility. UL: We had the chance to try the product before the panel talk here at the event, and they were amazing! Can you take us through the technology behind it? SG: Of course! There are six microphones that capture the surrounding sounds. Thanks to advanced algorithms, the system is able to amplify the right sounds. Here’s how it works: once the microphones capture everything, the algorithm calculates where each sound is coming from based on the tiny delay between signals reaching each mic. For example, if someone is speaking from your left, the microphones on that side will pick up the sound slightly earlier than those on the right. The algorithm identifies that the voice is coming from the left, but if I’m looking at you and speaking with you, it prioritizes your voice instead, since the delay between the two mics in front of me is zero. It amplifies only the relevant voice. The sound is then delivered through two small speakers embedded in the temples of the glasses. They transmit the voice directly to the ear without amplifying background noise, so no one around you can hear it. As with any wearable device, every time there’s a firmware improvement, users simply receive a pop-up notification and can update the glasses themselves. This is a medtech solution, and the medtech sector continues to grow, especially with an aging global population. We’re very familiar with this field, not only through Nuance Audio, but wearable technology always presents the same challenge: creating smaller devices with more functionality and decent battery life. Looking ahead, artificial intelligence will play a major role as well. UL: What kind of experts did you collaborate with to develop the glasses? SG: We worked with many experts: ophthalmologists, clinicians, and professors from various institutions. One of the most important was Professor Lin, originally  from Johns Hopkins University. We also worked with the National Acoustic Laboratory, the leading authority in audiology, as well as universities in Germany, Italy, Tel Aviv, and Boston. We created a panel of experts over a year ago. When we had the first prototypes, we let them test the product and share feedback on what needed improvement. Among them was the audiologist who once fitted President Reagan, and Professor Franklin from Johns Hopkins, who is well known for his research connecting hearing loss with dementia. photography Theo Cohen UL: Can you tell us more about the challenges you faced during development? What did you and your team learn from the process? SG: The biggest challenge was miniaturization. When we acquired the startup, their first prototype glasses had very limited amplification and were extremely bulky. My boss told me, “First and foremost, you must create a beautiful pair of glasses that no one would suspect contains a hearing aid.” So miniaturizing every component was essential, along with optimizing the battery. We aimed for eight hours of usage, which is the average time people wear traditional hearing aids. We worked with many battery manufacturers to find the right fit. Miniaturization and battery optimization were, and still are, the biggest challenges for the future. UL: What have you learned – both as a brand and personally? SG: We’ve learned a lot. In the beginning, we were very good at manufacturing glasses. For instance, our hinges are among the best in the world: they’re expensive, durable, and we know exactly how to assemble them. Everything related to traditional eyewear was straightforward. But when it came to technology and audiology, we faced challenges in every area. We changed microphones two or three times, replaced the amplifier, and tested several amplifiers before finding the

Fashion Articles

Johan Persson on NEUW Denim’s Creative Evolution: “Denim Is a Living Material”

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Johan Persson on NEUW Denim’s Creative Evolution: “Denim Is a Living Material” text Ulrika Lindqvist photography Cameralink Johan Persson on NEUW Denim’s Creative Evolution: “Denim Is a Living Material” With over two decades in the denim industry, Johan Persson has witnessed its transformation firsthand, from heritage craftsmanship to forward-thinking innovation. As General Manager for NEUW Denim, he continues to push the boundaries of what denim can represent. In this conversation with Ulrika Lindqvist, Persson shares insights on the brand’s evolution, the inspiration behind their latest campaign End Up Elsewhere, and why denim still fuels his creative energy every day. Ulrika Lindqvist: You’ve been working with denim for quite some time,  what first drew you to this field, and what keeps you inspired today? Johan Persson: Denim is a living material that makes it unique. Being able to have daily denim products, dialogues about its history, present, and future gives me incredible energy. My journey started in a store as a Denim sales associate, and even today, I look back at that moment when I was invited into the world of denim by extremely knowledgeable people who were considered Denim Heroes at the time. UL: Can you tell us a bit about your journey with Neuw Denim and how it has evolved over the years? JP: NEUW started its journey in 2009 and entered the European market in 2013. During that time, I worked for another iconic heritage denim brand in the Scandinavian region as Sales & Marketing Manager, closely following the rise of the NEUW era. NEUW is a very cool denim brand that entered the market with a bold approach, focusing on music and subculture. In late 2019, the owners of NEUW—Steve, Pär, and Rich—reached out to me to see if I was interested in taking over the leadership and guiding the brand to the next level in Europe. Having seen what NEUW had achieved over the past few years, it was an easy decision for me. I started my journey with NEUW in May 2020, and since then, we have made numerous strategic decisions to reach where we are today, covering collections, distribution, operations, and marketing, all guided by a clear roadmap for success. UL: Are there any particular projects or moments in your career that stand out as especially meaningful or memorable? JP: During my time at the heritage brand, our team set an ambitious goal to become the market-leading denim brand in Sweden. Over 13 years, progressing from sales representative to Sales & Marketing Manager, we achieved this goal! This success was thanks to an incredible team, excellent product development, key account partnerships, and effective marketing execution.   The journey my team and I at NEUW are currently on is something I am also very proud of. We have turned the business around and established NEUW as a market-leading denim brand in the premium segment in Sweden. It’s an exciting time! UL: In your own words, what makes Neuw Denim unique? JP: We deliver a premium denim product, featuring the latest in fabric innovation, finishing, and fit. Our designs embody a minimalist aesthetic and feel. When you try our product, you immediately sense its uniqueness. UL: For your new campaign “End Up Elsewhere,” you collaborated with creative Sara Sommerfeld. How did that partnership come about, and what made this shoot different from previous ones? JP: We are always seeking the creative consumer—the aspirational lifestyle of the new creative class. I met Sara at our Spring launch event at NEUW HQ in Stockholm in March 2025. During the event, I showcased the full brand to a group of 30 selected creators, with Sara being one of them. The day after, Sara contacted me to present a creative concept to showcase our brand from the perspective of the creative class and to tell the stories behind our products. This aligns perfectly with our brand and how we enjoy exploring self-expression. With Sara’s energy, great experience, and passion, combined with NEUW’s vision, we created a unique and next-level campaign for NEUW—”End Up Elsewhere.”     UL: The campaign also features Pascal Engman, Ciara Jansson, and Ida Redig. Have you worked with public figures in this way before, and what guided your choice of profiles this time? JP: The profiles we selected for the campaign needed to be for both gender and with different life story. Bold & uniq. We liked also to not only involved Sweden profile but also incl a growth market UK. There for we started the conversation with Pascal (author) Ida (Music Artist) Ciara (Artist) UL: What was the main inspiration or story behind the “End Up Elsewhere” campaign? JP: This campaign is about celebrating the paths less travelled, the unexpected turns, the personal choices, the everyday rebellions that ultimately define identity, UL: Looking ahead, what’s next for you? Are there any upcoming projects or goals you’re particularly excited about? JP: In the second half of 2025, we began integrating DTC (Direct-to-Consumer) into our European strategy. We plan to open our first store soon. In January 2026, we will move the homepage operations from our Australia headquarters to Stockholm, to drive more efficient business and increase brand awareness among our direct consumers in Europe. This will help elevate the brand to the next level. While wholesale remains our key focus, NEUW will continue to be the number-one choice for retailers in the premium denim segment.  photography Michaela Ek Berglund

Fashion Articles

Fifteen Years of Maska: Crafting Modern Classics in Natural Fibres

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Fifteen Years of Maska: Crafting Modern Classics in Natural Fibres text Ulrika Lindqvist photography Lucie van Vuuren  As Maska celebrates its 15-year anniversary, founder Maria Svensson reflects on a journey defined by integrity, craftsmanship, and a deep respect for natural fibres. What began with ten hand-knitted cardigans has grown into a beloved brand known for timeless design and exquisite materials. In conversation with Odalisque Magazie, Svensson shares her creative philosophy, the discoveries that have shaped Maska’s evolution, and why softness and substance remain at the heart of everything she creates. Ulrika Lindqvist: Congratulations on Maskas 15-year anniversary! Looking back, what inspired you to start Maska in the first place? Maria Svensson: At the time, I was deeply passionate about natural fibres—especially wool—and I knitted a lot myself. Most contemporary knitwear back then was made almost entirely from acrylic, which felt disconnected from the beauty and integrity of real fibres. I wanted to create contemporary knitwear using the kind of exquisite materials that were, until then, reserved for the luxury industry. Our first collection was just ten knitted cardigans, made in everything from mohair and silk to alpaca and cashmere. We started by selling directly to customers to offer high-end quality at a fair price. But soon, shops began reaching out, and we naturally grew into a wholesale model as well. UL: Could you tell us a bit about your own background, what did you study and work with before founding Maska? MS: My great-grandmother and grandmother ran a sewing business in Borås, Sweden’s textile heartland, and I spent countless happy hours there as a child. That world of fabrics and craftsmanship always felt like home. Later, I studied pattern construction and sewing at Tillskärarakademin, design at Parsons in New York, and completed a master’s degree at Chalmers University of Technology. Before founding MASKA, I worked as a shirt and knitwear buyer for the Swedish menswear label Melka. My background in technology has been surprisingly relevant—textiles are full of forces and tensions, and understanding how to create durability without sacrificing comfort has become a quiet obsession of mine. photogrpahy Carl Ander  UL: How would you describe your creative process? MS: We always start with the yarn. It all begins with finding an extraordinary fibre and letting it guide the design. Each material has its own temperament—you can’t force a yarn to become something it isn’t. Alpaca, for instance, loves to drape and creates wonderful contrasts, while mohair wants to be airy and light. Our goal is for everything to come together in a garment that feels effortless and empowering—something that grounds the wearer and lets them feel at ease in their body. Many customers tell us they almost forget they’re wearing anything at all, which I think is one of the most beautiful compliments we can receive. UL: How have your designs developed over these 15 years? What discoveries have you made? MS: Our first collection drew inspiration from the golden age of knitwear in the 1930s and 40s, when craftsmanship and structure were incredibly intricate, and garments were made to last a lifetime. Over time, we’ve evolved toward more contemporary fits and silhouettes. As we’ve explored more remarkable yarns, we’ve learned that sometimes the yarn itself is the story—it needs only the simplest shape to shine. We love to blend fibres that enhance one another—combining something airy with something fluid to find the perfect equilibrium. One of our key discoveries is that women love softness. Even though certain wools are exceptionally strong and lustrous, it’s the tactile pleasure—the softness—that often wins hearts. Our challenge is always to find that balance between softness and strength, creating pieces that feel like love at first sight but also age beautifully over time. UL: MASKA presents a lot of knitwear. How do you source and decide on materials and yarns? MS: We visit yarn trade shows and maintain close relationships with around 25 European spinning mills, mostly Italian. We always buy directly from the mills so we can absorb their knowledge and stories, and pass those narratives on to our customers. MASKA is, in many ways, a mission to celebrate the remarkable European yarn industry and the ancient wisdom embedded in natural fibres. These materials carry thousands of years of human understanding—how to stay warm, feel beautiful, and dress with purpose. UL: Is there a particular moment in your career that stands out as especially memorable? MS: Every year when we travel to Florence to select yarns for the winter collections, I feel the same thrill. I still remember my first visit—it was almost surreal to discover that such a job existed, where you could travel to such a beautiful place and spend days surrounded by the world’s finest yarns. UL: What are you most looking forward to in the coming year? MS: We’re very excited about our upcoming collaboration with knitwear designer Ann Bonander Looft. It feels like a beautiful dialogue between two worlds of craftsmanship, and we can’t wait to share it.

Culinary

Inside NOFO Hotel: Södermalm’s Hidden Gem With the Ultimate “Key to Söder” Guide

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Inside NOFO Hotel: Södermalm’s Hidden Gem With the Ultimate “Key to Söder” Guide text Ulrika Lindqvist In the heart of Södermalm, NOFO Hotel pairs boutique charm with thoughtful experiences, including the curated “Key to Söder,” giving guests a deeper, more personal way to explore the neighbourhood. Our Experience Sometimes you get the perfect first impression of a place and with NOFO, that’s exactly what happened. A few years ago, just before Christmas, my partner and I were wandering through Södermalm in a snowstorm. We had been at an event and were desperate to escape the weather and find a glass of wine. That’s when we stumbled into what might be Stockholm’s coziest courtyard. We stepped inside and ended up having the most wonderful evening in the wine bar, surrounded by Christmas trees and holiday cocktails. Since then, we’ve returned several times, but this was our first actual stay at the hotel. photos courtesy of NOFO  Background NOFO stands for North of Folkungagatan, the neighbourhood in Södermalm where the hotel is located. The hotel has 109 rooms, each styled according to different themes: Södermalm, Scandinavian, Brooklyn, Bronx, Queens, Upper East Side, Carnaby Street, SOHO, Trastevere, and La Belle Époque. Every room is uniquely designed, and we learned that many regulars have a favorite style they always book. We stayed in an Upper East Side–inspired room, and it instantly became a favorite we could happily return to again and again. With its skylights paired with small windows facing different directions, a soft bed, elegant design choices, and an incredible bathroom, we felt like we were tucked away above the everyday world,  up in our own little tower. The building was constructed by Lorenz Silfvert in 1780 and originally served as a brewery. Over the years it has also functioned as a hospital and emergency housing. Roughly 200 years later, Columbus Hotel opened in the space in 1976, eventually passing the keys to NOFO in 2015. Key to Söder You’ll hardly want to leave the hotel, the lovely rooms, the restaurant, and the wine bar make it tempting to stay put. But if you do decide to venture out, NOFO has created its own curated guide to the neighborhood “Key to Söder”.  The idea is to make it easier for guests to discover authentic local experiences without the guesswork that usually comes with exploring a new city. The service is complimentary for hotel guests and offers a carefully curated selection of spots. Guests can either browse the list themselves or ask the hotel team to arrange everything from café visits to dinner reservations at places that truly embody Södermalm. We at Odalisque have our office on Södermalm, and many of our favorite spots are included, like Mormors Dumplings and Krumel.  Gems that aren’t always easy for tourists to find. From one local to another: chef’s kiss! Speaking of chef’s kiss, we got to try the Key to Söder service when NOFO booked a table for us at the iconic  restaurant Gondolen. We had an unforgettable evening, walking through the October rain from NOFO to Gondolen (thank you, NOFO, for lending us umbrellas!) before settling in to enjoy the view over Stockholm, Gondolen’s Pithivier, and flawless service. We then walked back to the hotel and ended the night with a movie in our room, a perfect ending to a perfect evening. About the Hotel NOFO has 109 rooms, each designed in a unique style inspired by destinations around the world. The hotel is centrally located in Södermalm, Stockholm. Room categories include suites, junior suites, executive rooms, superior double rooms, standard double rooms, tiny double rooms, and single rooms. NOFO also features a restaurant and a wine bar that we highly recommend.

Fashion Articles

20 Years of Cultural Encounters: SpoilConcept Celebrates Its Anniversary with Eyes on the Future

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20 Years of Cultural Encounters: SpoilConcept Celebrates Its Anniversary with Eyes on the Future text Ulrika Lindqvist For two decades, Maria “Pyret” Millqvist has led SpoilConcept with a clear vision: to unite culture and business through meaningful encounters and creative experiences. As the agency marks its 20th anniversary, she reflects on the youthful confidence that shaped its foundation, the profound shifts within the PR industry, and why curiosity remains her guiding force. Ulrika Lindqvist: Congratulations on SpoilConcept’s 20th anniversary! Looking back, what inspired you to start SpoilConcept in the first place?   Maria ”Pyret” Millqvist:  When I started SpoilConcept, I had a strong idea of bringing together business and culture to create encounters across boundaries, with art at the center. Since 2005, we’ve been fortunate to collaborate with some of the country’s leading cultural institutions and play a small part in a larger movement. Today, we see how art and creativity are woven into everything from academia to fashion for example, how the Stockholm School of Economics integrates art into its curriculum. As Josef Sachs once said about NK, ‘we are both a commercial and a cultural theater.’ We love that idea, it’s the spirit we bring to our agency, creating experiences that connect business and culture.     UL: Could you tell us a bit about your own background — what did you study and work with before founding SpoilConcept? MPM: I studied at Berghs School of Communication and the Institute for International Education in Stockholm, but I’m essentially self-taught. In 2005, I launched the PR and events agency SpoilConcept with great confidence, and perhaps a little naively. Looking back twenty years later, I feel immensely proud that, as a young woman, I was able to establish myself and make a name in a challenging and relatively new industry. photography Elisabeth Toll photography Rasmus Georgiadis UL: What do you find most enjoyable about working in PR, and what are the biggest challenges? MPM: I’ve always worked hard, driven by curiosity and creativity. Our business concept has remained the same since the beginning: to create dynamic encounters between culture and business, where culture provides credibility, emotion, and experiences, while business brands provide security and sponsorship. Today, I have more experience, but I’m just as curious about what lies ahead. Art, music, food, dance, theatre, design, architecture, and fashion continually inspire me and fuel new ideas. I’m also proud that we’ve always lived by the motto, “it’s cool to be kind.” We are a friendly agency, and as the name Spoil suggests, we love to pamper our clients. Nurturing relationships and creating physical meetings has always been our ambition and it’s even more important in today’s digital world. UL: How would you say the PR industry has changed over the past 20 years? What was it like when you started, and what is it like today? MPM: The PR industry now requires navigating an evolving landscape that extends far beyond traditional media and the established social channels like TikTok, Instagram, and Facebook. Companies are building their presence on new platforms like Substack, which are gaining credibility as trusted sources of information and inspiration. Affiliate marketing, once focused solely on driving sales, now integrates brand narrative with conversion. Meanwhile, AI is rapidly reshaping the work we do. I’m not afraid of challenges or change—I love it. Staying inspired and open-minded is essential to remaining relevant and up to date. UL: How do you decide which clients to work with? MPM: I like to work with clients who are ambitious and bold rather than beige! Our core concept remains the same: creating dynamic encounters between culture and business, where culture brings credibility, emotion, and experiences, and business brings security and sponsorship. The dream assignments are those where we have the client’s full trust, allowing us to be creative, brave, and innovative. photo courtsy of National Museum UL: Do you have any advice for people who want to start a career in PR? MPM: Work hard, never give up, be a good listener and learn by doing. Be kind, invest time, and be patient with yourself.   UL: Is there a particular moment in your career that stands out as especially memorable? MPM: The reopening of the Nationalmuseum is a very special project I’ll always carry with me. After four years of renovation, we had the honor of hosting the VIP opening night. I literally had to pinch myself, it was a dream come true.   UL: How do you envision the future of public relations? MPM: Like most industries, PR must live in the present while planning for the future. Over the past 20 years, we’ve witnessed tremendous shifts across traditional, digital, and social media. I’m grateful to have experienced this evolution, and like all major changes, it has sparked reactions. I find it exciting to be part of this development, it keeps me alert and present. I am inspired by everything happening around us. For instance, in an era of “fake news,” we will need to be even more selective and careful about which media and voices we trust and follow. It will demand more from us as individuals, and reason and reflection will become even more important.   UL: What are you most looking forward to in the coming months? MPM: We are taking the next step by expanding with The Suite at our property on Sturegatan 34. A dedicated space with a living room and kitchen where we can host conversations, experiences, and gatherings. This will be part of our 20-year celebration and mark the beginning of the next chapter. The space and project are expected to be fully completed by April 1, 2026.

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