Fashion Articles

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

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

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

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

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

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

The Power of Adornment: A Conversation with Mumbaistockholm’s Cecilia Kores text Ulrika Lindqvist Twelve years ago, a journey through rural India sparked a fascination that would shape Cecilia’s life and career. Surrounded by women who adorned themselves with color, sparkle and intention, she learned to see jewelry as something more than ornamentation: an everyday celebration of self. Today, as the founder and designer of Mumbaistockholm, she creates pieces that carry that same sense of meaning and joy, perhaps most notably her signature cocktail or “power” rings, designed not to be gifted or waited for, but chosen and claimed by the wearer herself. In this interview, Cecilia speaks about inspiration, the intimacy of her creative process, her collaboration with Valerie Aflalo, and why jewelry should never ask permission. Ulrika Lindqvist: Hi Cecilia, can you share how long you’ve been working as a jewelry designer and what inspired you to start your career in this field? Cecilia Kores: I have been working as a jewelry designer for 12 years. My inspiration came when I spent eight months in India. A big part I spent in the most rural parts, and I was absolutely mesmerized by the way the women there wore glittering jewelry all over their bodies! I felt that the way that the women took every chance to decorate themselves in colourful clothes and jewelry, even if they lived a very simple life and spent most of their time with their family, was such an inspiration. They took every chance to make life beautiful!   UL: What was the idea for founding Mumbaistockholm? CK: I started to wear anklets and toerings in India and I absolutely loved it. But the anklets was made in stainless steel and kept on breaking. When my Indian journey was about to end, I went to a silver smith and asked him to make a very simple anklet for me in silver. And that was the start to Mumbaistockholm. I named the brand “Mumbaistockholm”, as I thought my anklet was the perfect mix between Eastern culture and Scandi minimalism.  UL: Has there been any particular projects or events in your career that stand out as especially memorable? CK: Oh, so many… But one thing I will never forget was when an American lady that lay next to me on a sunbed in Tulum, Mexico asked to buy my diamond bracelet. I took it off and gave it to her, and sent her an invoice. It was the Belle Cuff.  UL: Can you walk us through your creative process? Do you have any specific routines or practices that help spark your creativity? CK: Absolutely! One thing I always do is that I make sure to catch my ideas. If I forget to write up an idea, it will be lost. I always have either my phone or a little notebook with me, and I always immediately write up a sketch when I get a picture of a jewelry in my head. I can even stop on the side of the road when I drive my car, if an idea pop up. Then, when I am back home and sit at my desk, I can look at the note and it says “bracelet with a chain of marquise-cut diamonds” and I know exactly what to sketch.  If I need to get creative in a more structured way, I usually only have to open up a new box of shimmering gemstones to be inspired. Usually I immediately see if a gemstone is meant to be a ring, an earring or something else. If that doesn’t do it, I can simply look at our current collection of jewelry to be inspired. Customers can also say something about a piece that they try on that gets me inspired for a new one, with a little tweak.    UL: What does a typical day look like for you as a jewelry designer? CK: If I’m having a showroom day, my PR agency has usually  set up at least one meet-and-greet with an exciting person that they think I should meet – it could be a TV stylist, an influencer or a journalist. I love those kind of meetings as I get to meet so many interesting people! A bonus is that our jewelry is worn on so many special occasions, they really live their own fantastic life.  In the afternoon I  have one to ones with clients that have booked a showroom visit. Since 2016, we have offered private showroom meetings, and it is still the only way to see and try on our jewelry. They get 45 minutes of private consultation, and during this time they can try on all the pieces they want, and ask questions and learn about gemstones. Thanks to these meetings we end up having a beautiful and close relationship to our customers which I love. Once you come here, you also realise how quickly 45 minutes goes by!  During the day I keep a close contact with our goldsmiths and stonesetters in the studio, as well as with our gemstone suppliers – we make all pieces as per your order, so there is always a decision to be made or a new beautiful gemstone to handpick.   UL: How do you source stones, gems and metal for your designs? CK: I have worked with jewelry for 12 years now, so by now I have a fantastic team that I work with. I love coloured gemstones, such as sapphires, tourmalines, and morganites. Very early on in my business journey I got to know a young Swedish gemstone dealer. He was quite new at that time, and now he has become one of the most competent gemstone experts in Sweden. He can get hold of any gemstone that I ask about – he is fantastic. Diamonds are easier – the market for natural diamonds is so well-regulated and streamlined now that it is quite easy to get hold of exactly the stones my clients ask for. Antique-cut diamonds are a bit more tricky though – there you need the right contacts. I have