Author name: Elsa Chagot

Fashion Articles

Odalisque Magazine Interviews Madeleine von Schedvin

Odalisque Magazine Interviews Madeleine von Schedvin text Elsa Chagot images courtesy of Nelly Driven by a clear aesthetic and a deep connection to its audience, Nelly continues to shape its distinct design expression to the youth.  We had the pleasure to interview Madeleine von Schedvin, Head of Design and Brand at Nelly, who actively helps shape the way young women dress and reflects on her creative journey and shares how trends, fit, and long-lasting quality come together to define the brand’s design DNA. Elsa: To begin, could you tell us a little about your background and what first sparked your interest in fashion, as well as how your relationship with clothing and design has developed over time? Madeleine von Schedvin: I grew up in the textile city of Borås, where my family and relatives have a long background in textiles. Fashion and clothing have therefore always been a natural part of my everyday life. I was given the opportunity early on to express my creativity through creating, such as building, painting, and sewing, and this was always encouraged at home. That Borås also offered textile education both at upper secondary school and at university meant that I knew early on that this was the path I wanted to take. My interest in clothing and design has been constant throughout my career for over 20 years. What still fascinates me are the many layers of expression that fashion offers. Everything from how one wants to feel, which occasion one dresses for, to which trends and styles one wants to explore. Fashion is a way to communicate without words, and it is just as fun today as when I started. EC:In your role as Head of Design and Brand at Nelly, how would you describe your approach to guiding and shaping the creative process? MS: I think it is important to lead with high visions while at the same time everything must be feasible. For me, the drive and direction come from a strong analysis of the surrounding world, which gives us insights into trends, the market, and the target group, which in turn become the foundation for concrete and creative decisions. I want to create an environment where the team feels inspired, involved, and secure enough to dare to test new ideas.  EC: Nelly has a distinct aesthetic and identity. From your perspective, what defines the brand’s design DNA today, and in what ways do you feel you’ve influenced that evolution? MS: Nelly’s design DNA is built on style, fit, a clear expression, and quality. Colors and patterns play an important role in the overall feeling. My role has been to clarify and strengthen Nelly’s aesthetic and to create a consistent expression where all parts are connected. EC: When considering Nelly’s audience, how do you approach designing for young women and understanding what they’re looking for in fashion? How do you stay tuned into their needs and preferences? MS: Designing for a specific target group is about truly “feeling” them. I do this by listening, observing, monitoring the surrounding world, and analyzing trends, but also by understanding the social, cultural, and lifestyle-related changes that affect them. Women between the ages of 18–25 are in an exciting phase of life, from studies to working life, relationships, and personal development. Understanding these stages helps us create garments that feel both modern and functional, and that reflect their needs and expressions. EC: You collaborate with designers internally as well as with external brands, influencers, and creatives. What do you appreciate most about collaborative work, and what do you believe makes these partnerships successful? MS: It is very rewarding to be part of a creative process together with others; it opens up more perspectives and opportunities. It is especially fun when everything falls into place easily, with direct and honest communication and a shared understanding of vision and goals. And incredibly fun to create together! EC: How would you characterise your own personal aesthetic, and do you feel aspects of your style influence your creative direction at Nelly? MS: For me, comfort is always number one – clothes must fit well. No matter how nice I think something is, I would never wear it if it does not feel comfortable. My style is simple and relaxed, often with oversized proportions, and I like to complement it with jewelry or shoes that stand out. My personal taste does not guide Nelly’s creative direction, but my eye for trends and understanding of the brand in relation to the target group naturally influence how we develop collections. EC: Many designers draw inspiration from travel or cultural contrasts. What types of places, aesthetics, or craftsmanship inspire you most at the moment? How do you approach cultural influences in your work and ensure that inspiration is handled respectfully? MS: Travel is a major source of inspiration for me, especially places with a clear visual aesthetic. I look at how people dress on the street, architecture, interior design, and how things are conceptualized. If I draw inspiration from a culture, it is important to understand its meaning and context, so that it is done respectfully and does not become cultural appropriation. Seoul in Korea has long been a favorite destination. I am inspired by colors, silhouettes, textile production, and entrepreneurship, where visual concepts and packaging are highly valued. EC: Nelly has an important place in the wardrobes of young women. How do you approach keeping the brand relevant while also staying true to its roots? MS: For us, it is largely about building further on a style and aesthetic that holds over time. When you find your expression early, there is often a natural continuity, and that is something we protect in Nelly’s DNA. At the same time, we ensure quality in our products – garments should maintain both feel and function over time. Fit is also a central part for us, since a garment that fits correctly always feels relevant in the wardrobe, season after season. EC: Looking ahead,

Beauty Articles

Odalisque Magazine Interviews Louise Hjelmqvist – Co founder of MELA

Odalisque Magazine Interviews Louise Hjelmqvist – Co founder of MELA text Jahwanna Berglund images courtesy of MELA When two women found themselves navigating the often chaotic roller coaster of hormonal imbalance, they did not stop at finding a personal solution, they built one. Founded in 2023 by Louise Hjelmqvist and Rebecka Leirup, Mela was created with a mission to redefine the narrative around hormonal balance for women. The co-founders transformed their own experiences into a wellness brand built around a focused range of products: Hormone Support capsules, a Hormone Support multivitamin with added gut support, Hydrate Electrolytes, and Restore Triple Magnesium. The brand’s promise lies in science-backed formulations, Swedish manufacturing, and a subscription model designed for modern routines. We spoke with Louise about the story behind Mela, her perspective on women’s health, the changes she hopes to see in the wellness space, and what lies ahead.  JB: Louise: tell us about that moment when you realised you wanted to build Mela. What were the signs/symptoms that led you into “hormonal health” territory?LH: For me, Mela began with my own body telling me something was wrong. I struggled with severe PMS for years, the kind that left me feeling depressed, anxious, and unlike myself for almost two weeks every month. It was incredibly isolating.I went to multiple healthcare providers, and the solutions I was offered were the usual ones: antidepressants, birth control. Both made things worse for me, not better. I felt like I was being treated as a set of symptoms rather than a whole person. It wasn’t until I explored a more holistic approach with nutrition, targeted supplements, lifestyle changes that things finally began to shift. For the first time, I felt a sense of balance and clarity, and I realized just how many women were going through the same thing without real support or guidance. That experience became the seed of Mela. JB: What did you each bring in terms of backgrounds, skills, passions that made this partnership possible? LH: I’ve spent over a decade in creative and marketing agencies, helping brands grow through storytelling and a deep understanding of their customers. My strength has always been in translating complexity into something relatable, something people can understand and feel. I’m passionate about creating brands that matter, and women’s hormonal health is the most meaningful challenge I’ve ever taken on.JB: How did you move from personal discovery into product development? Was there a first “prototype” or early version of the product range? LH: I had personally been taking many vitamins, minerals, and probiotics separately for a long time, because they genuinely helped my own health. At some point, I thought: Why isn’t there a simple, all-in-one product for women like me? Something high-quality, science-backed, and easy to take every day. That idea became the foundation of Mela, and our first product, Hormone Support. From there, we started working with Dr. Ehiphani Simmons, PhD, who joined us as a scientific advisor, helping ensure the formula was both effective and rooted in research. Before launching, we invited over 400 women to test the product for free in exchange for self-assessments. Women were reporting better energy, improved digestion, fewer PMS symptoms, and a sense of feeling more balanced. That was the moment we knew we had to move forward. JB: The wellness & supplements market is crowded, what sets Mela apart? LH: A three-pillar ecosystem: Products, Community, Education.Mela is not just supplements. It’s: Products designed for real effectiveness. Communities, like our “Wellness Wednesday” meetups, have become a “third home” for many women. Education, giving women knowledge to understand and navigate their hormonal health. Coming back to health isn’t just taking a supplement; if that were the case, no one would have issues. We aim to support the whole woman, not just her symptoms.JB: You list “scientifically formulated”, “premium ingredients”, “Swedish made” among your brand pillars.  Can you walk us through how you selected your ingredients and your manufacturing partners?  LH: Quality isn’t just a value for us, it’s a non-negotiable.We evaluated more than 20 manufacturers before choosing a Swedish partner who could uphold the safety, traceability, and purity standards we wanted. Ingredients are chosen based on clinical research, bioavailability, and relevance. JB: The visual identity and packaging feel very design-led. How important is aesthetics to your brand? LH: We believe aesthetics shape behavior. If something is calming, intentional, and beautiful, you’re more likely to make it part of your daily routine. We wanted Mela to feel like an object you choose to keep on your kitchen counter. Good design is also a form of self-care. 😉 JB: The wellness space is increasingly intersecting with sustainability, circular economy, clean beauty, etc. How does Mela engage with those trends?   LH: We try our best to be as gentle on the planet as possible. We deliberately removed all outer packaging from our jars to cut unnecessary material waste. We minimize plastic wherever possible; you won’t find a single plastic wrapper in our shipments, and we’re actively working toward refill systems so that each glass jar can be reused again and again. We also work with Swedish manufacturing partners, which allows us to maintain strict production standards, ensure ethical working conditions, and reduce transportation emissions.   JB: You focus on hormonal balance for women,  do you see (or plan) offerings for men, or for more gender-neutral products?   LH: Right now, our mission is very clear: to elevate women’s health. Women have been underserved and overlooked in this space for far too long, and we feel a strong responsibility to stay focused and go deep rather than broad. That said, some of our formulations are naturally universal, and we already have male customers who love products like Restore and Hydrate. We’re always listening and learning, but our priority is, and will continue to be, building a trusted ecosystem for women’s well-being. JB: As founders, how do you maintain your own balance?LH: I try to live in alignment with the principles we built Mela around.

News

O&M Brings Professional Haircare to NK Stage Stockholm

O&M Brings Professional Haircare to NK Stage Stockholm images courtesy of O&M From 28 January to 3 February 2026, Australian haircare brand O&M takes over NK Stage Plan 1 in Stockholm, transforming the space into a week-long pop-up where professional salon expertise meets a more personal, accessible beauty experience. For one week, visitors are invited to explore O&M’s Clean, Kind and Original Professional Haircare philosophy beyond the salon setting. The pop-up focuses on guidance, hands-on discovery and direct connection, with professional hairdressers and O&M experts on site to offer tailored advice and product recommendations based on individual hair needs and desired results. Adding a practical dimension to the experience, the space will feature a Blow Out Bar, allowing visitors to try the products in action through simple, salon-inspired styling sessions — bringing professional performance into the heart of the city. Throughout the week, daily surprises and giveaways enhance the experience, with the first 20 customers each day receiving a complimentary surprise gift with purchase. Already established in Sweden exclusively through salons, the NK takeover marks a strategic step for O&M to connect more closely with the Swedish market. By stepping outside the traditional salon environment, the brand aims to create a physical meeting place where its values — conscious formulations, professional performance and craftsmanship — can be experienced first-hand. The NK activation forms part of O&M’s long-term commitment to strengthening its presence in Sweden, continuing to position the brand as a pioneer within modern, mindful professional haircare.

Opiates

Stine Goya Featured in “Emily in Paris”

Stine Goya Feautured in “Emily in Paris” images courtesy of Stine Goya Stine Goya, the Copenhagen-based fashion house celebrated for its expressive prints and playful sophistication, unveils an exclusive capsule collection created for the hit series Emily in Paris. Designed especially for the show’s protagonist, Emily Cooper, the capsule centres on a white silk set adorned with delicate black dots — a reimagined version of one of the brand’s most recognisable signatures. Tailor-made for the series, the look balances effortless elegance with a modern sensibility, reflecting both the character’s evolving style and Stine Goya’s refined approach to femininity. Crafted in luxurious silk, the dotted ensemble brings a sense of understated glamour to Emily’s on-screen wardrobe, seamlessly fitting into the show’s romantic European backdrop. The limited capsule collection launches on 18 December and will be available in selected stores and at stinegoya.com

Fashion Editorial

Frostbite

Frostbite photography Jasko Bobar fashion Clara Liisberg  makeup Vilde Feste  model Vigga Lindvig / Unique Models jacket Celine stockings Swedish Stockings shoes Celine skin MAC Studio Radiance Face And Body Radiant Sheer Foundation MAC Glow Play Cushiony Blush color Totally Synced eyes MAC Vanilla Pigment  lips MAC Dazzlelips Crayon Color Spaced out jacket Karl Lagerfeld at Zalando skin MAC Studio Radiance Face And Body Radiant Sheer Foundation MAC Glow Play Cushiony Blush color Totally Synced eyes MAC Vanilla Pigment  lips MAC Dazzlelips Crayon Color Spaced out skin Bobbi Brown Vitamin Enriched Face base  MAC Studio Radiance Face And Body Radiant Sheer Foundation lips MAC Retro Matte Liquid Lipcolour Dance with me  MAC Powder Kiss Liquid Lipcolour MACSmash total look Chanel skin MAC Studio Radiance Face And Body Radiant Sheer Foundation LH Cosmetics Infinity glass eyes MAC Pro Longwear Fluidline Eye Liner And Brow Gel  lips MAC Squirt Plumping Gloss Stick Color Jet turtleneck Tiger of Sweden skirt Herskind skin Bobbi Brown Vitamin Enriched Face base  MAC Studio Radiance Face And Body Radiant Sheer Foundation lips MAC Retro Matte Liquid Lipcolour Dance with me  MAC Powder Kiss Liquid Lipcolour MACSmash  turtleneck Hermés skirt Hermés skin MAC Studio Radiance Face And Body Radiant Sheer Foundation MAC Glow Play Cushiony Blush color Totally Synced eyes MAC Vanilla Pigment  lips MAC Dazzlelips Crayon Color Spaced out skin MAC Studio Radiance Face And Body Radiant Sheer Foundation MAC Glow Play Cushiony Blush color Totally Synced Eyes MAC Vanilla Pigment  earrings Kindraden skin MAC Studio Radiance Face And Body Radiant Sheer Foundation LH Cosmetics Infinity glass eyes MAC Pro Longwear Fluidline Eye Liner And Brow Gel  lips MAC Squirt Plumping Gloss Stick Color Jet dress Cecilie Bahnsen gloves Agnelle at Zalando poncho By Malene Birger skirt By Malene Birger bracelet Agmes skin Bobbi Brown Vitamin Enriched Face base MAC Studio Radiance Face And Body Radiant Sheer Foundation lips MAC Retro Matte Liquid Lipcolour Dance with me  MAC Powder Kiss Liquid Lipcolour MACSmash Dress, Tove at Zalando Earrings, Bottega Veneta Skin MAC Studio Fix Powder Plus Foundation Eyes MAC 3D Silver GlitterLips TOM Ford Sunlit Rose Lip Balm shirt Anine Lykke Smed skirt Herskind stockings Swedish Stockings pumps Miista at Zalando skin MAC Studio Fix Powder Plus Foundation eyes MAC 3D Silver Glitter lips TOM Ford Sunlit Rose Lip Balm Skin MAC Studio Fix Powder Plus Foundation Eyes MAC 3D Silver Glitter Lips TOM Ford Sunlit Rose Lip Balm fur By Malene Birger earrings, David Andersson skin Bobbi Brown Vitamin Enriched Face base MAC Studio Radiance Face And Body Radiant Sheer Foundation lips MAC Retro Matte Liquid Lipcolour Dance with me  MAC Powder Kiss Liquid Lipcolour MACSmash turtleneck Tiger of Sweden skin Bobbi Brown Vitamin Enriched Face base  MAC Studio Radiance Face And Body Radiant Sheer Foundation lips MAC Retro Matte Liquid Lipcolour Dance with me  MAC Powder Kiss Liquid Lipcolour MACSmash dress Cecilie Bahnsen earrings Moschino at Zalando skin MAC Studio Fix Powder Plus Foundation eyes MAC 3D Silver Glitter lips TOM Ford Sunlit Rose Lip Balm

Art

This Woman’s Work – An Interview With Lynne Tillman

Ulrika Lindqvist: You first released Weird Fucks in the magazine Bikini Girl in 1980. How has the response, both critically and from readers, shaped your perception of the novel over time? Lynne Tillman: In 1980, “Weird Fucks” was published in a pink magazine called BIKINI GIRL, edited by Lisa Baumgardner. Lisa and Bikini Girl were associated with Club 57, a punk place. Weird Fucks, in manuscript was 62 pp in manuscript but it was printed in 7 pt type on very wide pages, so it almost disappeared in the mag. Very disappointing. It didn’t circulate well, maybe 500 or 1,000 copies. No one really saw it. So I’d say it wasn’t published, in a way. I gave readings from it, so if people knew about it, that’s how, and not from reading it themselves. Other people did artist or limited editions, I’d call them; Jim Haynes did one from Paris. Again, no visibility or distribution in the usual sense. In New Her- ring Press (2014), a small, indie press, published it in its correct form, that is, with a few changes I made. Artist Amy Sillman did the amazing cover and all the illustra- tions – a beautiful book, but again in a limited edition. So, there was little to no response to Weird Fucks until Peninsula Press published it in 2022. Oddly, it became a bestseller, which amazed me. Then responses came, reviews, social media, emails, the lot of it. Artist Hilary Harkness’s cover, based on her Stein/Toklas series of paintings were also amazingly helpful to the book. Wild and fascinating and gorgeous. So, responses, yes, finally. I had little perception, in the way you mean, before then. I believed it could appeal to contemporary readers. I wrote it with an eye to univer- sals, and by that I mean, things and events that happen again and again in people’s lives. In 1980, maybe, maybe fewer guys would have read it. Now, it’s a novel that has crossed over that arbitrary, highly gendered border. Thankfully. UL: What a journey Weird Fucks has had! Also,the cover is really amazing. I think Weird Fucks is very contemporary, it aligns with authors like Sally Rooney, Ottessa Moshfegh and Emma Cline, but you wrote it so long before. Maybe that tells of the timeless troubles of being a young woman? Or just a young human? LT: Of being human, and young, and a young woman, and a man who has sex with a woman, maybe one he’s just met, etc. Sex is universal. There are different ways to do it, and queer women and men also relate to Weird Fucks, because the weird is the situations and conditions of encounters around sex. What’s most important, I think, is the style of Weird Fucks. It took me two years to write it, my first longish thing, and every word was considered closely. Style was very important. I wanted it to be tough and also lyrical. I mostly left room for readers. UL: Now that Weird Fucks is being translated and reaching entirely new audiences more than 50 years after its original release, what is it like to witness the novel take on this second life? LT: It’s really having its first life. UL: And finally, that is! You have written several other novels – No Lease on Life was a finalist for the National Book Critics Circle Award in fiction. Have these other novels started living their first lives earlier, and how does that experience differ from the one with Weird Fucks? LT: Let’s see, I’ve written six other novels, starting with Haunted Houses and, most recently, Men and Appari- tions, which is very much about young men. Peninsula Press is giving them life in the UK, and I hope other foreign presses will consider them. And they all had first lives in the US, and a few were published in the UK in the early 1990s, but they had a very small impact, very few readers. Weird Fucks became a bestseller. None of the others have…yet. photography Craig Mod UL: What was the inspiration behind Weird Fucks? Did any particular events, ideas, or themes inspire you more during the writing process? LT: The sexual revolution, the pill, feminism, questioning gendered roles, these were changing — and still are — and I didn’t see fiction that, to my mind, took on what was happening, how girls, women, boys, men were being affected. The novels that did represent young women’s lives were, for me, not interesting formally, as writing, and were usually too sentimental, and too much about women as victims of the changes. The birth control pill was revolutionary, when you realise that over millennia, women couldn’t control their pregnancies. Having unwanted babies enslaved women to their bodies. We couldn’t talk at all about gender without the pill allowing women this very urgent freedom. UL: That’s really a big change for women, in society as well as in personal lives. Do you have any artists or authors whose work inspire you? LT: Oh, too many to mention, really. In fiction, most important, Jane Bowles, her stories and her one and only novel, Two Serious Ladies. Reading it openedup a uniquely written world in which her girls and women characters stretched the bounds of female representation. Her writing is stark, unsentimental, and often hilarious. Bowles is very smart, very different — her dialogue, no one writes anything close to its unusual brilliance. Bowles’ mind, her language, her way of seeing human beings… Kafka, Thomas Mann, Colette, Jean Rhys, Joseph Roth, Flaubert, again, too many. Visual artists, four going back into history, Caravaggio, Velázquez, Courbet, and Matisse. dead contemporary painters: Peter Dreher, Susan Rothenberg… I’ll leave it there. And there’s installation and sculpture and video…. Photography: Diane Arbus, Robert Frank; Pictures Generation, including Cindy Sherman, Barbara Kruger, Laurie Simmons, Stephen Shore, and newer photographers, etc. Film: Ozu, Hitchcock, Chantal Akerman, Agnes Varda, Fassbinder, Suzanne Bier, many others. I haven’t even mentioned doc filmmakers. Warhol radically

Fashion Articles

Benjamine Cadette – An Interview With the Designer

Benjamine Cadette – An Interview With The Designer text Elsa Chagot photography Viktor Tägt Ring images courtesy of Benjamine Cadette Moving between Seoul, Paris, Seattle and now Stockholm, designer Hyoung Ook Choi has shaped his brand, Benjamine Cadette, as a world built on dualities; organic emotion and architectural structure, instinctive expression and refined restraint. His practice is guided not by trend or reference, but by observation: the behaviour of plants, the rhythm of cultural landscapes, and the subtle ways a garment can align with its wearer rather than impose upon them.  In conversation with Odalisque Magazine, Choi reflects on the evolution of his aesthetic, the layered meanings behind his two collections, and the philosophy that anchors his approach to design. Elsa Chagot: Tell us about your journey toward becoming a designer – how that path began and evolved for you. And following that, how did Benjamine Cadette come to life and develop into the brand it is today? Hyoung Ook (Benjamin) Choi: I grew up in the countryside, where I spent much of my childhood with plant and animal encyclopedias open in front of me, observing nature closely. I was fascinated by why certain plants grew only in specific environments and how small living organisms negotiated space with one another. These early observations shaped my eye for structure and planted a deep sense of sensory curiosity. My years in Paris expanded that sensitivity in a new direction. Realizing that what I found beautiful could evoke the same emotion in others was a quiet but important confirmation. For the first time, I felt that the way I see the world could become more than personal taste — it could evolve into a kind of language. When I returned to Korea, I wanted to bring together the sensibilities and experiences I had accumulated over the years. From that flow, Benjamine Cadette was born. Later, when I moved to the United States, my work shifted once again. Living closer to nature and collaborating frequently with local creatives, I often found moments where my clothing blended effortlessly into the surrounding landscape. This harmony gave me confidence that my aesthetic was not tied to a single place — it could find its place naturally in new environments. Looking back, becoming a designer was never the result of a single decision. It was built from layers of observation nurtured by nature, sensibilities gifted by different cities, and the traces left by moving through cultures and environments. All of these accumulated to form who I am today. Benjamine Cadette continues to grow through understated emotion and restrained beauty. The layers of time I have lived — the nature, the cities, the people — remain quietly embedded in the shapes and textures of the clothes. E: What specific experiences or influences have most profoundly shaped your personal aesthetic or the way you perceive fashion? B: No, I didn’t get inspired by other designers or whatever, just my lifestyle. And yeah, I think a lot of myself, what I want. E: Your journey spans Seoul, Paris, Seattle, and now Stockholm. How have these diverse cultural environments shaped not only your aesthetic, but also the way you understand fashion as a cultural language? B: Experiencing life across Seoul, Paris, Seattle, and now Stockholm has given me one clear understanding: the more diverse the cultural landscape becomes, the more fashion — as a cultural language — demands a pure form of expression. Just as people can misunderstand each other even while speaking the same verbal language, fashion can also be misread within the same culture. These experiences taught me that sincerity, emotional honesty, and expressing what feels truly ‘mine’ are what allow fashion to communicate clearly across cultural boundaries. portrait photography Sandra Myhrberg métier moment moment The more I moved between cultures, the more external decoration and explanation lost their power. Instead, I learned that raw, instinctive, and original expression carries a deeper resonance. Whenever I worked from that place of honesty, the reactions to my clothes felt warmer, more human, and more profound. Ultimately, this journey made one direction very clear to me: to express myself more purely, more truthfully, and more in alignment with who I am. I believe that is the cultural language of fashion that remains authentic, even when the culture shifts. E: How do you balance individual creativity and expression with the practical, commercial realities of building a collection?  B: In the early stages of running my brand, I naturally adapted to the commercial realities of the business. However, as time went by, I realized that if my personal creativity is not fully expressed, the brand’s character and identity can begin to fade. That is why I actively propose and pursue various collaborations, and especially through the Métier line, I am able to express my creativity in a deeper and more meaningful way. By finding this balance between practical considerations and creative expression, I ensure that the brand continues to grow without losing its essence. E: When looking at your collections Métier and Moment, I see two distinct yet connected worlds. Métier with its emotional lightness and organic, more nature-driven femininity, and Moment with its more structured, architectural approach.  What guided you in defining these collections as separate expressions within the brand? And how are these identities evolving as you move into the next collection – what can we expect to see? B: The name Benjamine Cadette is built on dualities; each word holds two meanings. Benjamine can sound like a masculine name while also meaning “youngest sister.” Cadette refers to an aristocratic soldier going to war for the first time, but in its feminine form also means “younger sister.” These layered meanings naturally shaped the structure of the brand. Métier is the line that expresses the brand’s essence in its most vivid and raw form — where nature and my cultural roots appear most clearly. Moment refines the same sensibility and philosophy into the language of everyday life — a world that moves quietly

Art

Between Surrealism, Memory and the Female Gaze – An Interview With Sanna Fried

Between Surrealism, Memory and the Female Gaze – An Interview With Sanna Fried text Elsa Chagot photography Sandra Myhrberg In her paintings, Sanna Fried moves between worlds; the commercial imagery of her former fashion career, the emotional intensity of female surrealism, and the lived realities of women who stand outside narratives. Speaking with Odalisque Magazine, she reflects on returning to fine art, the women who shaped her visual language, and the ongoing project that challenges the ways society interprets female autonomy and desire. Elsa Chagot: You began your career in fashion before fully turning to painting. How has that background shaped the way you approach art today? Sanna Fried: Although painting has always been my deepest passion, and I went to a foundation art school, Nyckelviken, in Stockholm, at 23 my focus shifted towards fashion. Unexperienced, barely speaking English, but with a determination, I moved to New York City to fulfill my dream to work as a fashion editor. Suddenly a formative decade had gone by, working with clients such as Vogue, Vera Wang, Cartier, and Missoni but I felt something was missing me- the art! The beginning of the pandemic became a turning point for me and I felt the call to return to fine art. I spent the first part of the pandemic on a beach in Costa Rica where I spent my time studying art and practicing, painting oil on canvas but also murals. In my search for what is my artistic voice I found inspiration in the female surrealist movement and artists like Remedios Varo, Dorothea Tanning and Leonor Fini together with masters of expressional portraiture like Mary Cassatt, John Singer Sargent and Diego Rivera. The inspiration I found in the history of art began to intertwine with my greatest influences from fashion photography. I’m deeply inspired by Paolo Roversi’s portraits- how a single image can hold an entire story, and by Richard Avedon’s In the American West– where he in portraits reveals the soul of his subjects using no more context than a white backdrop. Like Warhol, my years in the commercial industry eventually led me back to the path of creating fine art, now deeply influenced by the language of commercial visual storytelling, and fashion photography. This foundation continues to impact my painting, inform my compositions and my curiosity in challenging what an image can be. EC: You cite artists like Remedios Varo, Dorothea Tanning, and Leonor Fini as influences. What draws you to these female surrealists? SF: In the later part of the pandemic I moved to Mexico City and ended up being Mexico bound for about 2 years. There, an entirely new visual world opened up to me — shaped by Mexico’s centuries-old cultural heritage and its long traditions of visual and artisanal arts, and reflected so clearly in the city’s many museums and cultural institutions. One of the first things I noticed was Mexico’s tradition of honoring female craftsmanship. Because of this, female contemporary artists have, in a very organic way, been given the spotlight they deserve. Discovering women artists who are barely mentioned in European and American art books — yet in Mexico are considered part of the country’s most important contemporary heritage — was extremely liberating for me. The women you mention were the ones who spoke to me the most: female artists working during modernism, going their own way. Using the bold colors of fauvism, blending rich detail with surreal elements, and bringing forward their most personal thoughts and emotions without censorship or fear — through their art. art Sanna Fried My own art has always been about not trying to satisfy the audience, but instead addressing the subjects that matter to me — and mental health is one of the most important among them. These women all had roots in Europe, yet each of them found her artistic identity through Latin America. I relate to that. I’m a woman from Europe, a context where female artists have always been, and still are, underrepresented. Finding my own artistic voice in Mexico, I discovered in these women not only new inspiration, but also a new sense of confidence as an artist. EC: You’ve drawn interest from both the fashion industry and female surrealists. What happens internally when those two worlds meet; the commercial and the surreal, the stylized and the raw? SF: For me, those two worlds meet very naturally. Fashion taught me to think in images — how a single frame can communicate mood, narrative, and identity with clarity and intention. Female surrealism, on the other hand, opened the door to everything that doesn’t need to be explained: symbolism, intuition, and the emotional layers beneath the surface. So internally it’s not a clash, it’s a dialogue. Fashion and commercial brings structure, composition, and a trained eye for detail; surrealism brings freedom and experimentation. One part of me builds the image carefully- the other part pushes me to let go a bit and let something unexpected in, or sometimes even something uncomfortable. In that overlap my work starts to feel honest to me and I find the balance between control and instinct. EC: I’ve heard artists describe their works as their children. What’s your personal take on that idea when it’s applied to your own art? SF: I can relate to that idea. My paintings do feel like my children in many ways.  Creating a painting is a slow process where you give something of yourself in order to bring something new into the world. There’s care, time, frustration, joy- and then a moment when the work no longer belongs to you, but has a life of its own. EC: You lead community workshops combining art and hospitality. Can you tell us more about that and its effect? SF: I started to shape my creative workshops during the first half of the pandemic, when I was living between Costa Rica and Tulum- two places with strong spiritual communities. I needed to find a way to support myself, and

Beauty Articles

BLEU DE CHANEL L’EXCLUSIF

BLEU DE CHANEL L’EXCLUSIF text Elsa Chagot   images courtesy of CHANEL  A colour beyond colour, a blue like no other. Intense, infinite, and elusive, BLEU DE CHANEL L’EXCLUSIF marks a new chapter for the House’s most iconic masculine fragrance. More than a scent, it is a statement: an exploration of boundless vision and the power of beginnings. With this creation, Olivier Polge, CHANEL Parfumeur, redefines the codes of modern masculinity. The fragrance unveils an amber-woody accord of remarkable depth, where majestic sandalwood meets the leathery warmth of cistus labdanum. It is a scent of strength and sensuality; rich, complex, and magnetic. At its heart lies a rare sandalwood extract from Maré, New Caledonia, sustainably cultivated through CHANEL’s dedicated supply chain. This meticulous process ensures both ethical sourcing and the preservation of the ingredient’s natural intensity. The result is a fragrance that feels alive, enveloping, mysterious, and timeless. The bottle, a study in chiaroscuro, captures this same duality. Its pure, architectural lines reveal a blue so deep it borders on black – a radical hue that reflects the infinite horizon of possibility. Fronting the campaign, Timothée Chalamet embodies the spirit of the fragrances: audacious, uncontainable, and in constant motion. His energy mirrors the fragrance itself: a convergence of instinct, curiosity, and fearless creativity. With BLEU DE CHANEL L’EXCLUSIF, the House pushes its legacy to new heights. It is not only a reinterpretation, but a reimagining of what a masculine scent could be. 

Music

Cosima Olu – Finding Light in the In Between

Cosima Olu – Finding Light in the In Between text Elsa Chagot photography Elvira Glänte Swedish artist, songwriter, and producer Cosima Olu has carved out a space uniquely her own; blending soulful melodies, acoustic textures, and thoughtful lyricism. With roots embedded within music and art, she approaches her craft with honesty and emotional depth. In this conversation with Odalisque Magazine, Cosima opens up about her creative journey, the personal experiences that shaped her latest album In Between, and the power of staying true to oneself Elsa Chagot: How did your journey with music begin, and how have you grown into the artist, songwriter, and producer you are today? Did it always feel like a natural step? Cosima Olu: My relationship with music has always been strong. Both of my parents were musicians – my father was a jazz pianist, and my mother was a classical pianist and musicologist. I would simply say that I’ve been privileged to have had music around me since childhood. Not only did my parents introduce me to their love of music, but also to their love of theatre, opera, art, and nature. I’ve been in the music industry for quite some time now – working, collaborating, and performing with many different artists and musicians. My craft as a musician has always felt natural to me, but taking the step forward as an artist has been something different. My main focus has been on the process of creating music, and on making music that truly makes sense to me. Although I’ve always struggled with nervousness and anxiety that strike every now and then – which isn’t always ideal as an artist, since we often focus so much on ourselves – releasing my own music has helped me be kinder to myself and more present in general. When I write, I usually describe a chapter or situation from my own experiences. I’m also a strong advocate for independent music creators – own your own music! – but there’s also a downside to it. You invest so many hours, so much effort and money into your art without any guarantee it will be heard. Many decisions must be made, which can feel quite lonely at times. But hey – at last, you finish your album, and what a huge reward that is! The creative freedom I have as an independent artist allows me to stay true to myself. EC: Your new album has been described as a blend of alternative soul, acoustic pop and progressive RnB. Do you have any particular influences, such as artists, that shaped this new sound and identity? OU: When I write music, I don’t think in terms of a specific genre. Honestly, I think we’re too obsessed with categorizing things. But of course, every form of art is influenced by many different expressions.  I’ve been a music lover from the very start and have always listened to all kinds of music. In high school, I listened a lot to 90s R&B such as Aaliyah, TLC, and Whitney Houston — but I was also a huge fan of movie music. (I even had The Lord of the Rings soundtrack in my Walkman (!!) — a true nerd, haha!)  As a singer, Donny Hathaway has always been my role model. In recent years, jazz and instrumental music have had a big impact on me — both as a listener and as a creator. After my first album Magnolia, I felt a strong urge to write and produce more acoustic, upbeat music and to embrace my love for R&B. EC: You took a break from music after a dark period in your life. How did that affect you personally, and how has it influenced your new music? OU: This period was crucial for me. Losing both of my parents within a year and a half affected me deeply as a person — and naturally, it also left a strong mark on my music, especially in the aftermath. Losing your roots affects your future. Losing control of what was happening forced me to take a step back. I had to be patient and adapt to a new state of mind. Some days were harder than others. But during that time, I also met the love of my life. It’s funny how life can offer both sadness and happiness at the same time. I believe this period made me more humble, compassionate, and perceptive. In my music, it’s important for me to stay true to who I am and where I come from. I think that comes through to my listeners, and I hope my music can radiate tenderness, hopefulness, and happiness at the same time. EC: How did you eventually find your way back to music after your break? OU: I guess it’s the pursuit of expressing myself. For me, music is a language — one that often feels easier to speak. I can use sounds and melodies to create a certain mood, or add lyrics to make the purpose of the song more direct. So, I think the break made me realize how essential it is for me to write my own music. It’s important for me to nurture my musical instinct — otherwise, I think I’d feel a bit down all the time, haha. EC: What does In Between mean to you personally? OU: It represents both an emotional state of being in between sorrow and joy, light and darkness. The album is about being present in that space — when you’re losing control and simply have to keep going. “In Between” also means staying true to my own expression. I often hear that my music is too jazzy from a pop-oriented point of view — and vice versa. I’ve been told many times that my music is hard to label and doesn’t fit neatly into a specific genre.To me, that’s a good thing. So, I’m sorry to say — In Between is not jazz, and it’s not pop. It’s not soul, and it’s

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