Menu
Instagram X-twitter

Author name: Mauri Camelbeke

News

Below Zero, Beyond Ordinary: When Electric Performance Meets Winter Golf in Åre

/

Below Zero, Beyond Ordinary: When Electric Performance Meets Winter Golf in Åre There is a certain silence in Åre during the winter that comes after snowfall. When the world feels, sculpted, almost curated. In that stillness, the idea of combining electric performance cars and golf might sound improbable, yet that is exactly where Polestar’s latest concept finds its charm. Drive below zero is not presented as a traditonal car event, but as a winter experience that blends movement, design, and play in a setting shaped by Nordic winter itself. At the heart of it is a simple but clever parallel. Golf is a sport of precision, patience and control. Winter driving in Scandinavia asks for the same qualities. Small inputs matter. Focus matters. The relationship between human and machine becomes more visible when conditions are demanding. images courtesy Polestar 3 Rather than talking about winter capability in abstract terms, Polestar places drivers in an environment where those qualities can be felt. Their vehicles are engineered and refined in real Nordic winters, where ice, snow, and deep cold are part of everyday testing. The result is a driving experience designed to feel composed and predictable, even when the rroundings are not. The winter golf element adds a layer of personality. A temporary course carved into the snowy landscape turns a test drive into something memorable. It invites curiosity. It slows people down. Between swings and drives, visitors move through the landscape in a more conscious way, noticing the terrain, the quiet, and the contrast between nature and technology. There is also an underlying design philosophy at play. The course is minimal, intentional, and temporary, echoing Scandinavian ideas of restraint and harmony with the environment. It reflects a mindset where luxury is not about excess, but thoughtfulness and experience. In many ways, Drive below zere feels less like a campaign and more like an invitation. An invitation to see performance in a different context, to connect sustainability with experiences, and to associate innovation with something human and playful. Perhaps that is wat makes it memorable. Not just the cars or the concept, but the feeling of seeing something familiar, like winter in Åre, interpreted in a new way. A reminder that innovation can be playful, and that even in the coldest settings, new ideas can feel warm and inviting.

Contributors

Henry Hu

/

PHOTOGRAPHER
Henry Hu (born. 1995, Hong Kong) is a self-taught artist of Chinese descent. First arrived at his practice through modern technological tools and software; easily accessible, the digital medium served as an immediate resource. His early work engaged aspects of digital art and graphic design. The years followed, in an attempt to shift towards a more physical manner, Hu took on new materials, working between formats, to incorporate his digital creation into tangible forms. This ongoing exploration has manifested in mixed-media paintings, lens-based works, and computer-generated animation

Opiates

Cecilie Bahnsen’s Introducing the Pre-Fall 2026 Campaign

/

Cecilie Bahnsen’s Introducing thePre-Fall 2026 Campaign Cecilie Bahnsen’s Introducing thePre-Fall 2026 Campaign Cecilie Bahnsen’s Introducing the Pre-Fall 2026 Campaign PRE-FALL 2026 The bow has long been part of Cecilie Bahnsen’s vocabulary. This season, it becomes central. Like a guiding force, it appears as motif, method, and metaphor. At once delicate and decisive, the bow acts as both adornment and architecture, holding tension and binding softness into structure. Beneath its loops and trailing ends lies a lasting strength, a gesture that secures and shapes what surrounds it. This season, Bahnsen revisits the bow through every lens. The collection echoes the pages of A Magazine Curated By Cecilie Bahnsen, where a feature titled Unbowed explored the bow as a symbol of feminine paradox. Here, its spirit lingers across silhouettes and seams, binding innocence with intention. photography Nadine ljewerestylist Nathan klein A SENSE OF OCCASION There’s something beautiful about the idea of dressing up with no particular reason,” says Cecilie Bahnsen. “This collection is a reminder to cherish those moments. To dress not because we must, but because we can. For ourselves, with friends, as a kind of shared joy.” The idea of occasion runs through the collection. Silhouettes shaped with couture-like precision begin to soften, slouch, and gently collapse against the body, creating a sense of ease. Layering becomes a language of its own. The constructions are intricate, yet the feeling remains effortless. Looks that once felt formal are reimagined to be worn freely and spontaneously, every day. At the heart of it all lies instinct, knowing when to hold things together, and when to let them unravel. THE TIES THAT HOLD The bow emerges as the season’s sculptural focal point. It appears in generous appliqués, embroidered into panels, and woven into fabrics as a quiet pattern. It moves across the back of silhouettes, nestles into dense seams, and suspends delicate dresses like ribbons caught mid-air. In its most restrained form, it becomes a simple gesture, at times fastening and binding, at others serving purely as adornment. Texture deepens the dialogue. Sturdy knits, quilted weaves, and striking jacquards are held together by unexpected closures “zips bows, and knots” blurring the boundary between utility and elegance. Softness is never accidental; it is engineered and deliberate. The colour palette mirrors the changing season: raw whites replace brights, softened to a chalky finish. Autumnal tones grow richer, while cool greys and dusk pinks suggest fading light. Materials alternately shimmer and soften, shifting between technical nylon and luminous brocade. BEFORE EVERYTHING UNRAVELS Looking beyond the bow, the collection explores the contrast between the ultra-feminine and the functional. Delicate silhouettes are paired with bombers, technical outerwear, and utilitarian shapes, softened through knitwear that wraps and grounds the look. A quiet tension emerges between nostalgia and newness. Photographed by Nadine Ijewere, the campaign reflects on ritual, gesture, and atmosphere. “The campaign draws on the intimacy of childhood rituals — the quiet moments before stepping into the world,” says Cecilie Bahnsen. “Nadine captures that in-between feeling, the imperfection before completion, with a gaze that feels both dreamlike and grounded.” The images become portraits of becoming rather than completion: friends sharing the small choreography of getting ready. Clothes are tied, adjusted, and lived I worn freely, without waiting for an occasion. The bow returns as both a structural and emotional anchor, holding everything together, until it doesn’t.

Fashion Articles

Femme Fatale: Kristoffer Kongshaug and Empowerment Through Design in Forza Collective AW26

/

Femme Fatale: Kristoffer Kongshaug and Empowerment Through Design in Forza Collective AW26 text by Ella Nelson Copenhagen-born and -based brand Forza Collective operates at the intersection of couture and ready-to-wear and is instantly recognizable for its beautifully balanced sharp tailoring and cocktail elegance. Rooted in the juxtaposition of structure and softness, the AW26 collection was no exception. Set within an industrial concrete space and featuring camp collars, impeccable cutouts, fluid draping, and the image of a powerful woman, the collection emerged as classy and colorful—a love letter to female empowerment. Odalisque had the pleasure of sitting down with Kristoffer Kongshaug, Forza Collective’s founder and creative director, to discuss craftsmanship, his signature design elements, and the inspiration behind the AW26 collection. art direction Alexis Markimage courtesy Kristoffer Li ‘Forza’ is an Italian word that translates to strength, force, or power. What does the word mean to you personally, and how does it shape the work you do? I like it because of the state of mind it reflects, either to my work approach or everyday life. Please tell us about how the AW26 collection came to life. What inspired it, what did the creative process look like, and how does the showcase reflect those ideas? It was a combination of an image of my aunt from when I was only a toddler. She worked for Air France and traveled back and forth from Paris to Denmark. She was the first woman in my life to dress up, and that image has stuck with me ever since. I also had baroque images of collars and layers of collars which went into the styling and some of the gowns. Which key elements or collaborators played a role in shaping the AW26 collection? The AW26 collection features pleated high-neck collars with ruffles in mesh, finished with raw edges, a technique also applied to skirts. Shirts showcase ascot collars and extended cuffs, while coats and shirts are designed with color-block collars and cocoon sleeves. Tonal or color-block strips of double-face wool and cotton poplin, reinforced with boning, are a recurring styling detail, emphasizing the neck and the structural construction of the garments. Circular cutouts on dresses and tops highlight architectural lines and create a sensual silhouette with exposed backs. Signature pipe pleating appears on day dresses, complemented by deconstructed bra cups on cocktail dresses. Draped suit pants evoke the feel of layered skirts, adding movement and dimension to the overall look. Are there any specific pieces, details, or ideas you’d like to highlight from this collection? The opening look. A deconstructed blazer in grey wool with a matching skirt, styled with a bright red top with a pleated baroque collar with ruffles in mesh. A mid length dress in black, lightweight crepe with waistline focus, featuring an open back with a flared cape that is one of main details in many of the looks throughout the collection. The red jacket in double face wool, styled with a signature flare pant and shirt, and a tonal strip of double face wool with boning around the neck that is a continuous styling detail in the collection. The closing look in deep sky blue. A peplum gown with a pleated twisted skirt that has a triangle focus towards the hem, and has a matching pleated baroque collar with ruffles. What challenges did you face in creating the collection, and what are you most proud of? The challenge season after season is that it is expected that you deliver better and bigger from the previous season, and not necessarily with more resources or a bigger team. Impact is a core value for FORZA—the creation of something that alters presence and leaves a lasting impression rather than existing solely for display. How does this translate into your designs, this collection in particular, and the brand’s creative expression more broadly? This comes down to the show pieces and styling. There will always be pieces that will be THE memory of that particular season, in this case – the collars styled with suits, and the pink and blue gown. It is all a part of the story telling and helps push the brand forward aesthetically. What do you hope audiences feel or walk away with after experiencing the AW26 showcase? The craftmanship. Everything is handmade at our atelier in Copenhagen, and I really hope that shows in the garments. How does this collection build on and strengthen the ongoing narrative of FORZA? The collections are always built with female empowerment in mind, a femme fatale if you will, and power dressing. During your career, you’ve lived and worked in both Paris and New York. What impact did these international experiences have on you as a creative, and how have they shaped your designs and your work at FORZA? This means everything to me. The craftsmanship from Paris and the commercial touch from New York are building stones for Forza. I would never be able to communicate what I want without those experiences. Craftsmanship is my way of communicating with the customer and our community, with me being present to speak to it. It is a silenced dialogue. Looking ahead, what’s next for FORZA? I am very excited for our upcoming launch of our new website and e-commerce which is something we have spent a long time on, and then of course our showroom in Paris in March. I had a lot of positive feedback from buyers which is always exciting!

Beauty Editorial

EARTHBOUND

/

skin Pat McGrath Labs divine skin the essenceDior backstage face & body foundation Chanel les beiges bronzing creamH&M Beauty do-it-all stickeyes MAC studio fix sculpt and shape contour paletteeyebrows Maybelline superlock brow glue & brow ultra slim eyebrow pencil hair R+Co halfpipe dry wax skin Pat McGrath Labs divine skin the essenceDior backstage face & body foundation Chanel les beiges bronzing creamH&M Beauty do-it-all stickeyes ByBeautyBay bright 42 color paletteeyebrows Maybelline superlock glue & brow ultra slim eyebrow pencil hair R+Co halfpipe dry wax skin Pat McGrath Labs divine skin the essenceDior backstage face & body foundation Chanel les beiges bronzing creamH&M Beauty do-it-all stickeyes ByBeautyBay bright 42 color palette eyebrows Maybelline superlock brow glue & brow ultra slim eyebrow pencil eyes Victoria Beckham Beauty satin kajal liner MadeByMitchell colorcasecosmetic paint LH Cosmetics creator palette hair Davines This Is a Texturizing Serumnoir Stockholm Beach Muse skin Pat McGrath Labs divine skin the essence Dior backstage face & body foundation Chanel les beiges bronzing creamH&M Beauty do-it-all stickeyes MAC studio fix sculpt and shape contour palette LH Cosmetics creator palette lips MAC lip pencil MadeByMitchell colorcase cosmetic paint LH Cosmetics creator palette hair IGK Antisocial Dry Mask skin Pat McGrath Labs divine skin the essence Dior backstage face & body foundation Chanel les beiges bronzing creamH&M Beauty do-it-all stickeyes ByBeautyBay bright 42 color palette eyebrows Maybelline superlock brow glue & brow ultra slim eyebrow pencileyes Victoria Beckham Beauty satin kajal liner MadeByMitchell colorcase cosmetic paint LH Cosmetics creator palette hair IGK Antisocial Dry Mask hair R+co Outerspace hairspray skin Pat McGratph Labs divine skin the essence Dior backstage face & body foundation Chanel les beiges bronzing creamH&M Beauty do it all stick eyes ByBeautyBay bright 42 color palette eyebrows Maybelline superlock brow glue & brow ultra slim eyebrow pencil eyes Victoria Beckham Beauty satin kajal liner MAC studio fix sculpt and shape contour hair IGK Antisocial Dry MaskR+Co Halfpipe Dry Wax

Contributors

Ella Nelson

/

JOURNALIST AND CREATIVE WRITER
Ella Nelson is a Stockholm-based writer and creative. She holds a BA (Hons) in Journalism and Media from the University of Leeds and a vocational certificate in Fashion Photography from the University of the Arts London: Central Saint Martins. Driven by visual aesthetics and cultural narratives, her work spans creative communications, copywriting and editorial journalism, with additional experience in freelance production and photography across the Nordic fashion industry.​

Cinema

Daniel Francis in Full Bloom

/

jacket Reiss shirt & trousers Phix jewellery ToTintor jacket & trousers Alexandar Nikolich shirt Reiss shoes Next tie ASOS Design jewellery ToTintor Daniel Francis weaves storytelling through intuition. From his upbringing in Battersea, South London, which wired him to root for the underdog, to his education at the London Academy of Music and Dramatic Arts (LAMDA), which taught him to seduce an audience and hold their attention, facets of Francis surface in every role he plays. With the new season of Bridgerton now streaming on Netflix, we caught up with The Gardener to learn how patience, precision and instinct come together to grow a character worth watching. jacket Alexandar Nikolich shirt Reiss tie ASOS Design jewellery ToTintor   Maya Avram: What have been some of the best reactions you received for your performance as Lord Marcus Anderson? Daniel Francis: Mainly the gardener comment, you know — Violet Bridgerton speaking about her “garden” being “in bloom” in Queen Charlotte: A Bridgerton Story, landing Lord Anderson the nickname of The Gardener. Back in season three, the audience wasn’t too sure about his intentions at first. Was he pure of heart, or is he kind of a rake? But as his genuine interest in Lady Bridgeton unfolded, the audience started to root for them. That part has been wonderful. MA: Did you enjoy that tension as an actor, or were you waiting for him to win over the audience? DF: It’s always fun to have secrets. I would see comments from people, ’Oh, I don’t trust this guy,’ or ’What’s his intention?’ you know, because Lady Bridgerton is such a beloved character. So I was intrigued to see the responses once audiences realise Lord Anderson was genuine. It has been largely positive, which has felt amazing. MA: How much of yourself is in Lord Anderson, and vice versa? DF: With any character, I always start by asking myself what part of me I want to explore or express through that role. What I appreciate most about Lord Anderson is his patience. This is not one of my strong suits at all — I’m really impatient personally, but I appreciate his type of sensuality because it takes time. He’s been in the countryside, so he moves at a slower pace, absorbing Lady Bridgerton and creating space for her. That’s where I see myself: proactive patience, allowing things to unfold but still pursuing something or someone out of genuine interest. jacket & trousers Alexandar Nikolich shirt Reiss jewellery talent’s wore his own MA: What can we expect to see in the new season? DF: Lord Anderson’s and Lady Bridgerton’s relationship evolves. It’s unexpected, it’s unpredictable, but I like their dynamic because it’s not the first rodeo for either of them, so they can be honest with each other. We rarely get a chance to do that. They talk openly about their situation and past experiences; it’s very open. And it speaks to a demographic that isn’t usually front and centre in a love story, getting a second chance at love. ”Bridgerton has a place because it allows us to feel and experience love — who doesn’t want that?” MA: You’re a classically trained actor, educated at LAMDA, and having started your career at the Royal Shakespeare Company. How does your theatre work differ from your onscreen performance, and which is your favourite? DF: The intimacy of storytelling on camera, which I’ve grown to love, is unmatched. In comparison, being on stage means sharing a story with a live audience and inviting them in. The immediacy of stagework, the rigorous preparation and rehearsing — I love that process, I love the exploration of a play. It’s a completely different dynamic, but they both resonate with different sides of me. I love the interplay with the audience, being there in the moment, knowing you’ll never see it again. jacket Phix shirt, trousers & shoes Reiss jewellery ToTintor Theatre will always be important for bringing people together to hear human stories and connect jacket Alexandar Nikolich jewellery ToTintor MA: What’s something you’ve learnt from your time as an actor? DF: To follow my instincts. I’ve made some decisions in the past that weren’t right for me, but as Steve Jobs said, it’s impossible to connect these dots looking forward; you can only do it looking backwards. So the lesson is to trust your intuition, and when it tells you something, you can go, ‘I know that feeling; I’m going to pass, or I’m going to go for this thing.’ MA: What’s been a highlight in your career so far? DF: I love Bridgeton. A project of this magnitude — not just the production size, but it started a whole movement. MA: A cultural reset. DF: It really is. That is rare, and I’m grateful to be a part of it. MA: What excites you about the future? DF: I’m excited for people to see the new season. The level of work that has gone into it, the attention to detail, the care and stewardship we have put into creating something that hopefully audiences love. It’s a Cinderella-type story, and I love an underdog because of where I grew up. I’m excited for people to see this magical story.

Scroll to Top