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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

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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.

BackStage

Baum Und Pferdgarten – AW26Airborne

Baum Und Pferdgarten’s fall/winter 2026 collection, Airborne Baum Und Pferdgarten The AW26 collection by Baum und Pferdgarten is inspired by Amelia Earhart, an iconic pioneer who moved effortlessly between worlds. As both a record-breaking pilot and a style icon, she challenged traditional boundaries between masculine and feminine dress. The collection explores contrasts between function and elegance: aviator jackets, uniform shirts, distressed leather and structured denim are balanced with flowing dresses, lace details, lightweight fabrics and floral prints. Strength and protection meet softness and sensitivity through expressive silhouettes and refined details. Presented during Copenhagen Fashion Week, the Airborne collection was shown in a historic sports hall transformed into a runway-inspired catwalk. Accompanied by the Sankt Annæ girls’ choir, the show carried a ceremonial atmosphere that reinforced the collection’s aviation-driven narrative.

BackStage

Henrik Vibskov | AW26 | CPHFW

Henrik Vibskov | AW26 | CPHFW Add Your Heading Text Here Frog Carry Frog Autumn / Winter 2026 The AW26 collection begins with the frog: a modest, transformative creature deeply entwined with the living world. The journey started on a small Danish island known for its fire-bellied toads and unfolded through unexpected connections: the word criterium, the film Magnolia with its raining frogs, studies of frogs carrying one another, conversations about social structures, and even the company’s veteran van, Betty, which after eight years had to be carried out of a parking space by many hands. From the fire-bellied toad to the rare backpacker frog, where the female carries her mate, amphibian life became a poetic and human lens. Frogs exist between worlds, shifting from egg to tadpole to airbreathing being. They signal environmental change and populate myths and fairytales as symbols of metamorphosis, luck, fertility, and quiet wisdom. To look at the frog is to look at ourselves, interdependent bodies in constant transition, navigating thresholds and the weight of what we carry. images courtesy of Alastair Wiper Makeup Jenny Jansson using idunminerals Hair Amalie Holmqvist using Maginista What began as an interest in frog colors, habitats, and life cycles grew into a reflection on shared weight. Emotional baggage, collective labor, bumblebees improbably lifting their own bodies, fungal networks sustaining entire forests — all speak of cooperation beneath the surface. These ideas shape both the silhouettes and spirit of the collection. Earthy pond greens and soil browns are disrupted by flashes of warning orange, echoing nature’s own signals. Signature textiles distill this universe: etched toad-skin textures that honor imperfection; glowing mycelium-inspired patterns hinting at hidden cooperation; monochrome jacquards concealing tadpoles and dancing frogs; playful graphics of weightlifting frogs, swamp typography, and stacked creatures. The collection invites a shift in perspective away from the distant overview and toward ground-level intimacy. Tailoring plays a central role, with suits and structured pieces informed by frog faces, eyes, and webbed feet. Rounded volumes and fluid transitions echo metamorphosis, while layered garments suggest carrying, supporting, and sharing. Silhouettes interlock and depend on one another. The show takes place at Østre Gasværk Theatre in Copenhagen, where the audience looks down onto a circular stage, mirroring how humans often view frogs from above. This altered vantage becomes part of the story: an invitation to reconsider scale, hierarchy, and what we overlook. Performers carry towering ladder-like structures built around sculptural wooden spines, visualizing the core that supports the whole body. As these structures tilt, sway, and unfold, they form a shared pattern assembled collectively through loading, unloading, and redistribution of weight. In Frog Carry Frog the runway becomes a portrait of shared strength. A reminder that every height reached rests on many shoulders — and that together, we carry more than we ever could alone. Frog Carry Frog. HV Design Team – HV, Judith Klingenfeld, Lærke Engelshardt, Baptiste Comte, Jens, Clara and SwantjeManagement, Logistics, Accounting – Anja Gordon, Elvira von Wieding Development & Production – Joost Jansen, Anna De La Cour & Valerie BonnHV Installation Team – Baptiste Comte & Elvira von WiedingSales Team – VALD Agency & DUNE Japan Press – Nat Studio

Beauty Editorial, Uncategorized

Chanel – Unspoken Hearts

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