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Three Times a Charm: Sézane and Sea New York Return

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Three Times a Charm: Sézane and Sea New York Return Sézane is a Parisian atelier with an irrepressible ability to feel both timeless and deeply personal. In my previous article, I wrote that Sézane is not merely a fashion label but a story of heritage, warmth, and the poetic tension between reverie and real life, built around a strong rooted community. Today, that story returns to a familiar chapter, but one that feels newly relevant. Three times a charm, this collaboration brings cities over the sea, a shared sensibility, and two kindred spirits in design: Sézane and Sea New York. A Creative ReunionNearly a decade after opening its first U.S. doors, Sézane returns to one of its most meaningful creative relationships. The Parisian darling has reunited with Sea New York, the brand founded by Monica Paolini and Sean Monahan, for their third collaboration launching in January 2026.This collaboration is everything but just another capsule collection. It is a meeting of worlds, French ease and New York romanticism, old world craft and contemporary feminine spirit, Parisian understatement and New York vibrancy. Nearly ten years after Sézane first planted its flag in New York, this collection feels like both a homecoming and a creative renewal, a testament to how two voices can fuse without diminishing either. Echoes of Craft, Character and Connection What drew these two brands together and keeps drawing them back? In a press release, Sézane founder Morgane Sézalory reflects on the ease and joy of the collaboration. “Working with Monica and Sean again felt both natural and exciting,” she shares. “Together, we wanted to design pieces that truly delight, creations that feel unique to both of us yet belong to neither alone. That is where the magic happens.” Those words resonate deeply. As someone who has watched Sézane evolve from its early handwritten notes in packaging to installations that feel like salons of curiosity and warmth, this quote encapsulates what feels most compelling about the brand: its willingness to build bridges while staying rooted in craft and heart. For Sea New York, the partnership feels equally sincere. Co-founder Monica Paolini describes their shared mission plainly: celebrate craft, texture, and the fine details that make clothing feel personal rather than perfunctory. “We wanted to create something that felt both familiar and new, rooted in our shared appreciation for craft, yet shaped by the distinct energy of our two worlds,” she explains.   Textures of Memory and Modernity The collection itself is a study in nuance and craft. Embroidered cotton blouses nod to forgotten heirlooms, patchwork details feel hand collected rather than mass produced, and crochet and lace seem spun from a Parisian reverie yet grounded in New York grit. Structured jackets and vintage inspired silhouettes feel less like trends and more like inherited treasures, pieces you return to again and again. Seen together, the pieces are emblematic of both brands’ signatures, Sézane’s gentle effortless femininity and Sea’s romantic detail rich sensibility. It is fashion to be worn in generations, remembered, and reshaped through personal experience. The campaign, photographed on the streets of New York, pays homage to Nolita, the neighborhood that first welcomed Sézane to the United States and where its inaugural North American Apartment still lives. In that corner of Manhattan, Parisian charm and downtown verve coexist: café tables spill onto sunlit sidewalks, vintage signs rub shoulders with modern facades, and every corner feels like a story waiting to be told. Launching exclusively on sezane.com and in select Sézane apartments on January 18th.  Image Courtesy of Sézane

Gucci: La Famiglia: Inside the First Chapter of a New Era
Fashion Articles

Gucci: La Famiglia: Inside the First Chapter of a New Era

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Gucci: La Famiglia: Inside the First Chapter of a New Era Gucci enters 2026 with a troupe of personalities rather than a single muse. La Famiglia, the House’s newly unveiled campaign, introduces a wardrobe shaped by character, attitude, and inheritance, offering a first glimpse into the world Demna is beginning to define for Gucci. Unapologetically sexy, extravagant, and precise the collection signals a purposeful shift that feels entirely of the moment. Captured through Catherine Opie’s lens, the campaign reads like a contemporary family portrait. Each figure stands as an individual, yet together they form a shared identity bound by aesthetic codes, gestures, and a distinctly Italian sense of presence. This is the new era of Gucci, lived not only worn. La Famiglia brings Gucci’s archive to life through personality, not nostalgia. Incazzata burns bright in a vivid 1960s inspired little red coat. Gallerista moves with quiet authority in black, carrying a re proportioned Bamboo 1947. In menswear, Direttore’s tailoring and Principino’s effortless presence turn dressing into confidence and pleasure. Sprezzatura runs through every gesture. Stepped in leather mules, relaxed silhouettes, clothes are worn, not performed. Sensuality is in the air, unspoken and natural. While Demna’s full vision for Gucci will be revealed in February, La Famiglia functions as a deliberate prologue. A study in archetypes, desire, and continuity, it hints at the new language of Gucci to come. Available in Gucci stores worldwide and on gucci.com from January 8. Image Courtesy of Gucci

Fashion Articles

Odalisque Magazine Interviews Madeleine von Schedvin

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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,

Fashion Articles

Benjamine Cadette – An Interview With the Designer

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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

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Night of the Swallow – An Interview With Maria Nilsdotter

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photography Gustav Svante Larsson text Ruby Rose photography Fredrik Andersson Andersson photography Gustav Svante Larsson Maria Nilsdotter launches her new collection, The Cabinet of Enchanted Relics, on September 17th, 2025, in collaboration with Netflix’s Wednesday. Drawing from the gothic beauty of  the Addams world, the collection unveils a series of darkly poetic relics, artifacts and heirlooms steeped in mystery. Known for her bewitching imagination, Maria channels inspiration from Nordic mythology, landscapes and folktales to create jewellery as wearable art. She blends her unique perspective with the Wednesday universe to craft pieces that evolve with the wearer and transcend time. Step inside the shadowy world she has created and discover more about her creative process, her connection to Wednesday and the hauntingly enchanting narrative behind this captivating collection. Ruby Rose: Tell me what initially drew you to collaborate with Wednesday and engage with the wider Addams Family world through jewellery? Maria Nilsdotter: When the collaboration was proposed, I was instantly intrigued. The Addams Family, Wednesday in particular, has always captivated me, calling to me with their dark allure. It felt like a natural fit, a story I was compelled to step into and explore.  RR: Wednesday Addams has a distinct sense of identity and self, which aspects of her character did you resonate most with? How did they impact your approach to designing the collection? MN: There are many aspects of Wednesday’s character that I feel drawn to – the gothic aesthetic, where eerie beauty entwines with the macabre; her deadpan humor; her strangeness and emotional reserve. In creating the collection, I imagined the treasures she might hold dear, the heirlooms she might have gathered, creepy and uncanny, yet hauntingly beautiful and precious.  RR: Several of your previous collections have drawn inspiration from the written word and Wednesday herself uses writing to express her innermost thoughts. What connections do you see between literature and your design process? photography Fredrik Andersson Andersson  MN: To me, jewellery making is a way of telling stories, of weaving fairytales that continue their journey through the wearer. In a sense, it feels akin to writing, whether in the form of poetry, music, or prose.  RR: What did your creative process look like for this collection? Did you encounter any challenges which caused you to adapt your usual approach?  MN: Creating this collection felt natural and actually came quite easily to me. Wednesday already exists within such a rich and mystical world, overflowing with inspiration, and it aligned seamlessly with my own jewellery universe. All I had to do was find my angle, the story I wanted to tell.  RR: How do you determine which materials work best for a collection? Is there a special significance for your use of silver and gemstones in this one? MN: In every collection, the choice of metals and stones becomes part of the storytelling. For Wednesday, I began with her aversion to color, shaping a foundation of blackened silver, shadowy stones, and black pearls, accented only by rare glimpses of deep red and purple.  RR: The scorpion motif, both Wednesday’s beloved childhood pet and star sign, is threaded throughout the series. What does it symbolise for you and how do you explore this within the collection? MN: For me, Wednesday’s pet scorpion Nero reveals another, more hidden side of her – her loyalty and capacity for love and attachment. The scorpion itself is mysterious and feared, much like Wednesday, and stands as a perfect emblem of her fascination with the macabre. Nero becomes both a childhood trauma and a gothic totem, a reminder of the cruelty she endured, but also of her enduring bond with the strange and the feared.  RR: A particularly unusual element of Wednesday is her trusty sidekick Thing, an anthropomorphised hand. How did this unique character influence your designs?    MN: Thing is such an iconic character, one I remember vividly from watching the old series as a child. I wanted to create an ode to the faithful family friend and confidant of the Addams Family, the silent witness and protector of their secrets across generations. I reimagined a bejewelled version, a precious talisman from a treasure chest, adorned with red garnet, black spinel, and purple amethyst.  RR: Since your collection is being released in two drops, how did the concept and design processes differ between them? Did you have different customers in mind for each?  MN: The first drop is the main collection, The Cabinet of Enchanted Relics, an imaginary treasure chest filled with strange and mystical objects. The second is an extension of that world, an even more limited edition of showpieces, each handcrafted in Stockholm; creatures from the main collection that I wanted to explore in greater depth.  RR: Family is a central part of the Wednesday storyline, how important is this theme to you and how did it influence the collection? What do you see as the enduring value of heirlooms? MN: One of the things I love most about jewellery is how it carries through generations, precious not only for its materials but for the memories and emotions it holds. At the heart of my creativity lies the belief that jewellery is meant to last. People choose it with intent, often to mark moments of deep significance – gifts for special occasions or tokens to celebrate milestones. Over time, these pieces become charged with powerful energy, and I believe it is this invisible essence that makes jewellery truly magical.  RR: Finally, the name of this collection ‘A Cabinet of Enchanted Relics’ evokes themes of mystery and magic. How do you feel it reflects the spirit of the pieces within? MN: For the Wednesday collection, I envisioned her heirlooms, the treasures she might have gathered or inherited. Objects steeped in memory, shadow, and myth; relics of a peculiar lineage, artifacts whispering with dark poetry and echoing with uncanny energies. photography Fredrik Andersson Andersson

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Max Palm x Peak Performance: Where Freeride Meets Design

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Max Palm x Peak Performance: Where Freeride Meets Design text Yasmine Mubarak images courtesy of Peak Performance Peak Performance presented a collaboration earlier this fall, with freerider Max Palm. The limited collection, blends technical performance with streetwear — built to move seamlessly from mountain to city.  From the heart of the Alps to some of the world’s most iconic peaks, Max Palm continues to redefine what modern freeride can look and feel like. Now, he launches his first self-designed collection with Peak Performance — a range built around adventure, expression, and confidence. We caught up with Max during his preseason in Innsbruck to talk skiing, style, creativity, and what drives him to keep pushing the sport forward. For Max, designing his own collection was the natural next step — merging his needs as an athlete with his eye for style. How are you feeling at the moment?I’m feeling super good! Winter’s just around the corner, and I’m so excited. I’ve been training every day and I think this season’s gonna be a really good one. How did you first get into freeriding, and what does it mean to you?It came pretty naturally. My dad’s a mountain guide, my mom’s a ski instructor, and my uncle, Sverre Liliequist, is one of the Swedish freeride pioneers. I started with alpine racing, but I always wanted to explore more — and when I found freeriding, I found my passion. For someone wanting to explore more of the mountains, what’s your advice?Have as much fun as you can, but always stay safe. Bring a beacon, shovel, and probe, go with someone who knows mountain safety, and think twice before you drop in. What’s a must-have item for adventures?Hard question — but I’d say a camera, some candy, or my skis. You love filming and photography in the on as well as off-season — tell me more about that.Yeah, I love it. Filming and photography are a huge part of our sport. We get to move in such beautiful environments, and capturing that creatively really inspires me. I also skate a lot in summer — it’s the same vibe, just pure creativity.   You’ve been active YouTube/socials — is that something you want to keep doing?Definitely. I love sharing longer pieces on YouTube — I think we need more of that in skiing again. Socials are great too; it’s cool to see everyone’s vision and get inspired. You’re an ambassador for Peak Performance — tell me about that partnershipI’ve been with Peak for over eight years now. It’s more than a brand — it’s like family. They always support me and my ideas, and I’m super grateful to be riding for them. How much does what you wear impact your skiing and competitions?A lot. Style is a big part of who I am. When I feel good in what I wear, I ski better. The gear, the look — it all affects my confidence and how I perform. As the new collection drops. How important are fabric and design when creating new designs?Super important. It’s all about the fit, function, and materials — like GORE-TEX for protection in any weather. The design and cut make a huge difference depending on what kind of riding or conditions you’re creating the gear for. High-quality gear can be expensive — what are your thoughts on making it more affordable?Yeah, that’s a real challenge in skiing. With this collection, I’ve tried to make the best possible gear at a more accessible price. Not everyone can afford top-end equipment, so I always try to help out when I can — even selling older gear to friends for cheap. What drives you to keep going on all these adventures?Just having fun. Skiing is where I feel at home — it’s who I am. As long as I’m smiling and laughing out there, I’ll keep doing it. Any secret advice for staying calm in tough situations?Have fun. If you’re enjoying yourself, everything flows. When I’m in a good headspace and hyped, nothing can stop me. How do you handle stressful situations and your mental health?It’s a tough sport mentally, and I’ve had my struggles too. I’ve learned to stop comparing myself and focus on why I do this — for the joy. When you’re happy and doing it for yourself, everything works better. What’s on your bucket list this year or next?Alaska and Japan are big ones. I want to compete in Natural Selection again, finish a Red Bull project, and keep pushing my skiing. My main goal is to be the best version of myself — kind, happy, and full of energy.

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Bringing the Catwalk to the Slopes, an Interview with Sportalm Creative Director Ulli Ehrlich

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Bringing the Catwalk to the Slopes, an Interview with Sportalm Creative Director Ulli Ehrlich text Sandra Myhrberg images courtesy of Sportalm Nestled at the foot of the Kitzbühel Alps, Sportalm’s headquarters does not feel like a corporate hub; it feels like a living archive. Bolts of fabric, sketches from past decades, and the hum of a team that has worked together for generations tell a story that began long before contemporary sports luxury had a name. Visiting the brand on its home turf, it becomes clear that Sportalm is not merely a fashion company; it is a family legacy woven into the rhythm of the town itself. At the centre of this legacy stands Ulli Ehrlich, Creative Director and member of the founding family, whose journey with Sportalm began long before she ever held a title. Growing up next door to the factory, the brand was not something she joined; it was something she lived. From sewing clothes for her dolls as a child to shaping Sportalm’s modern fashion identity and its global presence, her perspective is uniquely intertwined with the brand’s evolution. Our conversation unfolds between the past and the future, the craft traditions upheld by a family-run business, the joyful and expressive codes that define Sportalm’s style, and the brand’s ambitions to inspire the next generation of skiers and fashion lovers. Q: You studied fashion formally and were also trained in Paris. How did your education and early professional experiences shape the designer you are today, and how did it prepare you for your role at Sportalm? U: Studying fashion gave me a solid foundation. I studied in Austria and then spent time in Paris, where I trained at Daniel Hechter, which was quite influential at the time. That was where I learned proper pattern making, and that technical knowledge has helped me so much throughout my career. When I returned to Sportalm, I started by working on the craft collection, then on the ski line, and eventually I developed our fashion line, which we launched around twenty-two years ago. My education, combined with growing up so close to the company, gave me both the creative understanding and the technical confidence to move the brand forward. Q: Sportalm has evolved over more than 70 years with deep roots in Alpine and ski culture. As Creative Director, how do you describe the brand’s stylistic journey from its origins to today, and what creative or strategic challenges do you face in keeping such a specialised heritage both innovative and relevant? U: Sportalm has evolved significantly in its product portfolio. Founded originally as a knitwear manufacturer, the brand later expanded into traditional Alpine attire, then into ski apparel, and since the 2000s into fashion and golf collections. Yet throughout this journey, the brand’s distinctive signature has remained intact. Sportalm is known for its vibrant, expressive collections, always with that certain special touch, a deep love for detail, and an uncompromising commitment to quality. The great challenge is to stay true to our roots and remain unmistakably ourselves, while at the same time staying in tune with the spirit of the times.Today, anything is possible — there is no longer just one single trend. As a brand, you have to seek out what is authentic and credible, while still giving customers the feeling of being absolutely en vogue. This also reflects the character of our hometown. Kitzbühel has constantly transformed itself, yet has remained an authentic place, even as glamour has become part of its identity. This blend of glamour and down-to-earthness is undoubtedly one of the secrets of our success. Q: Sportalm describes their own work by being characterised by sustainability (cited from your website). How would you, as CEO and Creative Director, define the brand as being characterised by sustainability? U: Family-run businesses have always operated sustainably, because we think in generations, not in quarterly reports. We feel a responsibility toward our values and toward people. Our commitment to maintaining our own production site within the EU is a clear expression of this value-driven mindset. Sustainability is also reflected in our dedication to quality, creating products that last for generations. The most beautiful moments are when we receive photos of styles that are 40 years old, or when young people write to tell us they are now skiing in the overalls of their grandparents. That is sustainability in its truest, most lived form. Q: Tell us about your upcoming fashion show! Are you the sole designer of the collection, or did you have any special collaborators? Are there any specific pieces or details one should pay extra attention to?  U: We have an excellent in-house team, some of whom have been with us for over 20 years and have played a decisive role in shaping Sportalm’s development. Our creativity truly comes from within the company. The collection is so diverse that it’s difficult to highlight one specific detail. What was especially important to us this year was the multifunctionality of the collection. Almost all pieces can be worn beyond the slopes — whether it’s the fashionable down jackets, the elegant mid-layers, or the beautiful knitwear. They can be worn for skiing, but they don’t have to be. Q: My mom (in Sweden) had one of your iconic jackets in the 70s. How do you view the potential of re-engaging the Nordic audience? U: In the past, Scandinavian style was often described as minimal and dark, but that is no longer the case. Today, Scandinavian brands are bold, colourful, and truly unique. Even on the slopes, people embrace a lot of colour. So perhaps this is the right moment to rethink our distribution in the region. Q: Looking back across the decades, is there a particular era of Sportalm’s archives that you find yourself returning to most for inspiration today? U: We’re keeping a strong eye on the fashion industry because what we do is ski fashion we are not like some of the really functional hardcore technical brands where

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ARAKII Opens at Nordiska Kompaniet This December

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ARAKII Opens at Nordiska Kompaniet This December Written by Ulrika Lindqvist ARAKII unveils its first ever physical retail experience with a month-long pop up at Nordiska Kompaniet in Stockholm. The launch marks a significant milestone for the rapidly rising Swedish fashion house, offering visitors an intimate introduction to its sculptural silhouettes, meticulous craftsmanship and contemporary design vision ahead of the brand’s planned global retail expansion. Swedish fashion brand ARAKII is opening a temporary store at Nordiska Kompaniet in Stockholm today. Located on the first floor, the space will be open throughout December. It marks the brand’s first physical retail presence and an important step toward its global retail and wholesale expansion planned for 2026. In just two years, ARAKII has emerged as one of Sweden’s most talked about and influential fashion labels. Founder and Creative Director Hanna Schönberg has established herself as a distinctive voice in the industry. Her work is defined by precise silhouettes, thoughtful design choices and a contemporary aesthetic that captures the spirit of the moment. Following several years of development and a carefully curated network of factories and suppliers, ARAKII has been releasing new collections continuously since 2024. The brand has grown quickly in Sweden and internationally. “Meeting our customer at home, during one of the most intense and magical months of the year, feels incredibly meaningful. The store is a way to invite visitors into the world of ARAKII and let them discover the materials, silhouettes and feeling behind each garment,” says Hanna Schönberg. The space reflects ARAKII’s creative identity in every detail. The Fall Winter 25 collection is presented in its entirety, featuring sculptural outerwear, tailored silhouettes, New Year looks and textured faux furs that together express the season’s visual narrative. Accessories and smaller elements tie the collection together and reveal the breadth of ARAKII’s modern and feminine design language. The interior is designed to embody the brand’s philosophy, a place where Scandinavian precision meets sensual cuts and where materials take center stage. Visitors are encouraged to explore the collection up close, feel the fabrics and gain a deeper understanding of the craftsmanship behind the brand. “Physical retail is very important for ARAKII because we love to challenge with unique details and creative design. Experiencing the garments in person becomes essential. Next year we will take our first steps into physical retail globally,” Schönberg says. The store opens on 3 December on the first floor of Nordiska Kompaniet in Stockholm and will remain open until 31 December, offering visitors a chance to experience ARAKII at the height of the holiday season.   Images courtesy of Arakii   

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SÉZANE – A Love Letter from Paris

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SÉZANE – A Love Letter from Paris text Jahwanna Berglund images courtesy of Sézane Paris will forever be my second home.  After nearly a decade in the city of lights, I know its rhythm like I do Stockholm’s. The soft clatter of cups on café terraces, the quiet grace of Haussmann façades, the way the air turns liquid gold at dusk. But this time, I returned with a different lens and not as the local I once was, but as a guest rediscovering someone else’s Paris. Morgane Sézalory, the founder of Sézane, invited me along with a small group of wonderful Nordic women to explore her Paris. To see the city through the eyes of the woman who built a brand around timeless charm, generosity, and community. What unfolded was more than a visit, it was a quiet journey through moments that remind you why this city still holds the power to feel both familiar and entirely new. Dinner at Morgane’s Former Apartment Hidden on the Left Bank, just a short walk from one of my long-time favourite restaurants, L’Atelier de Joël Robuchon, is Morgane’s old apartment. A two-storey haven with a secret garden tucked quietly behind its walls. It felt like stepping into a dream: the glow of candles, the sound of glasses clinking, laughter spilling softly into the warm autumn night. It was one of those Parisian evenings that seem to pause time, soft light spilling from open windows, the scent of food and flowers drifting together, and that feeling you only get in Paris, when life suddenly feels lighter, fuller, and perfectly in tune. Morning Rituals The next morning began at Grace Café, where the hot chocolate tastes exactly like home.Then a quick coffee to go from Coutume Café before wandering down Rue du Bac, a street that somehow captures the spirit of Sézane itself: elegant, effortless, quietly confident. And because no day in Paris feels complete without something sweet, I stopped for a crêpe suzette with a squeeze of lemon from Le Bac à Glaces, just sugar and lemon, the simple kind. I ate it while walking through Saint-Germain as the city came alive, sunlight dancing across the balconies and double-faced windows of old Parisian buildings.     Beyond Fashion What lingers after a visit with Sézane isn’t only the beauty of the clothes, though each soft knit and precisely cut jean carries that effortless Parisian ease, but the atmosphere surrounding them.Morgane Sézalory has built more than a label; she has cultivated a world. One grounded in sincerity, craftsmanship, and a quiet sense of purpose that extends far beyond fashion. At Sézane, elegance lives in small gestures, a handwritten note slipped into an order, the scent of freshly baked croissants in the boutique, a warm welcome that feels more like visiting a friend’s home than entering a store.It’s a world where community comes first, and style is simply the language through which it’s expressed. As the trip came to an end, what remained was a feeling of that rare sense of connection between people, place, and purpose, something distinctly, and beautifully, Parisian. A Sézane-Inspired Paris Guide StayLe Grand Hôtel Cayré – Elegant and timeless, just steps from Saint-Germain’s best boutiques and cafés.Hôtel Doisy Étoile – Charming and calm, a short walk from L’Appartement Sézane. Cafés & Breakfast SpotsGrace Café – Perfect for an easy breakfast or morning meeting.Coutume Café – Minimalistic design and serious about coffee.Le Bac à Glaces – Traditional ice cream and crêpes with a nostalgic touch.   RestaurantsBrasserie Lipp – A Parisian institution since 1880, known for its classic brasserie dishes and timeless Art Deco interiors.Le Petit Lutetia – Intimate and stylish, offering traditional French food in a relaxed Saint-Germain setting.L’Atelier de Joël Robuchon – A Michelin-starred experience where haute cuisine meets counter dining, refined, creative, and unmistakably Parisian – je ne sais quoi! DoVisit Sézane L’Appartement, 1 Rue Saint-Fiacre,  part boutique, part dream home.Stroll Rue du Bac and Saint-Germain-des-Prés for antique bookstores, florists, and cafés that capture the true Parisian soul.Walk through the Jardin du Luxembourg, especially at golden hour,  Morgane’s favourite time of day. Bring HomeArtisanal chocolate from À La Mère de Famille.Home essentials from Bienaimé.

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

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