Fashion Articles

An Interview with Frederik Berner Kühl: Wessel & Vett Fashion Prize Winner 2026 BERNER KÜHL received the Wessel & Vett Fashion Prize 2026. For the first time, the winner was announced at Copenhagen Fashion Week SS27, underscoring the Prize’s support for emerging Danish designers and their international recognition. To honour Magasin du Nord’s legacy, the jury observed the menswear label’s creative process during a live studio session in April. Founder Frederik Berner Kühl shared his refined approach to contemporary clothing with us. Sandra Myhrberg: The new format puts the jury inside your studio for a live working session on April 9th, not just reviewing a finished collection. What are you most nervous or excited about them seeing up close?  Frederik Berner Kühl: I think what I was most excited about was that they saw the process rather than just the outcome. Our collections don’t begin with a mood board or a trend. They begin with materials, conversations, fittings, and countless small decisions. We’re a relatively small team, so everyone is involved in shaping the collection. Hopefully they’ll see that every garment is the result of care, patience, and iteration. If I’m nervous about anything, it’s probably that the process can look slower or less spectacular than people expect. But that’s also exactly the point. We believe good products take time. SM: Each of you balances a strong aesthetic signature with a need to scale commercially. Where do you personally draw the line between staying true to your original vision and building a business that can grow internationally?  FBK: For me, growth should never come at the expense of identity. I’d rather build something that grows steadily over many years than expand quickly and lose what makes the brand distinctive. We’ve always tried to create products people will wear for a long time rather than for a single season. If we stay focused on quality, materials, and consistency, I actually think those values become an advantage internationally rather than a limitation. The challenge isn’t changing the vision; it’s finding better ways to communicate it and make it visible to more people.  SM: Sustainability and circularity show up differently across your practices, from deadstock and durability to reconstructed vintage, to limited runs, to archival referencing. What do you think about the tension between responsible production and the pressure to keep producing more?  FBK: I don’t think sustainability can be reduced to one material choice or one initiative. For us it’s about creating fewer, better products that remain relevant over time. Fashion will always involve making new things, so the question becomes whether those products genuinely deserve to exist. We try to make garments that people return to season after season, rather than replacing after a few months. Durability, both physically and aesthetically, is probably the most sustainable thing we can contribute. Of course there’s always pressure to produce more, introduce more styles and move faster. We try to resist that where we can. We’d rather refine than constantly reinvent. SM: If you win, the prize includes mentoring in sales, production, PR, and business development. Which of those areas do you most need help with right now, and why?  FBK: Probably business development. We’re confident in our creative direction, but we’re entering a stage where the biggest challenge isn’t designing the collection; it’s building the right structure around it. How do we grow internationally without compromising the values we’ve built the brand on? How do we make smart decisions about distribution, partnerships, and long-term strategy? Having experienced people challenge our thinking and share their perspective would be incredibly valuable. SM: A look from your collection will sit in Magasin du Nord’s windows during Copenhagen Fashion Week, tying your work to over a century of Danish retail history. How does that legacy sit alongside the story you’re trying to tell with your own brand?  FBK: I like the idea that fashion exists in a longer continuum rather than only in the present moment. Magasin represents a long history of Danish craftsmanship, retail and culture, and I think our brand shares that respect for longevity. At the same time, we’re not interested in nostalgia. We want to build on that tradition while speaking to how people live today. If someone looks at the window and sees clothing that feels contemporary but also timeless, something they can imagine wearing for many years, that would feel like a meaningful connection between the two. images courtesy Berner Kühl photography Oscar Meyer and Kasper Søholm

An Interview with Oscar Jardorf: Wessel & Vett Fashion Prize Nominee 2026 O. FILES stood among the nominees for the Wessel & Vett Fashion Prize 2026. For the first time, the winner was announced at Copenhagen Fashion Week SS27, underscoring the Prize’s support for emerging Danish designers and their international recognition. To honour Magasin du Nord’s legacy, the jury observed the label’s creative process during a live studio session in April. Oscar Jardorf shared with us his aim to create a clear, meaningful link between clothing and the person wearing it.   Sandra Myhrberg: The new format puts the jury inside your studio for a live working session on April 9th, not just reviewing a finished collection. What are you most nervous or excited about them seeing up close?  Oscar Jardorf: Compared to showcasing a finished collection, it was both interesting and a great exercise to have to present and convey raw ideas from the midst of an idea-/conceptual phase to an audience with such extensive experience. A lot of ideas normally just float around and rarely materialise in an easily presentable form before a relatively late point in the process; however, we tried to really condense and concretise some of the concepts and tenets behind the upcoming collection for the jury’s careful review. SM: Each of you balances a strong aesthetic signature with a need to scale commercially. Where do you personally draw the line between staying true to your original vision and building a business that can grow internationally?  OJ: At O. FILES, the vision is principal to everything, and it’s a vital part of our proposition to the consumer. We don’t want to compromise and let the foundation on which the brand was built deteriorate, primarily because said foundation is the thing that sets us apart. In terms of international commercial growth, such an approach may be somewhat troublesome in the fast-paced, complex environment of the fashion industry, yet we genuinely believe it’s the best and most optimal long-term strategy and that the users will ultimately cherish a non-diluted version of the brand. As also emphasized during our meeting with the jury, for guarding the vision, knowing exactly what not to do is a key capacity for us. SM: Sustainability and circularity show up differently across your practices, from deadstock and durability to reconstructed vintage, to limited runs, to archival referencing. What do you think about the tension between responsible production and the pressure to keep producing more?  OJ: This is somewhat of a paradox, so there are multiple perspectives needed for answering this question. Up close, we believe and thus create items that are intended to transcend the singular season, things that are distinctively purposeful and generally have a high utility value in the long run. If we simply wanted to scale and sell more at a consistently rapid rate, the character of our designs and fabric choices would be vastly different. As such, our configuration comes with an intrinsic limitation for mindless production. On the other hand, in the bigger picture, we want more people to choose products with a proposition similar to the one described above, whether from O. FILES or from other mindful brands like our co-finalists for the prize. This implies that, consequently, someone has to produce more; it just has to be someone with the right approach. SM: If you win, the prize includes mentoring in sales, production, PR, and business development. Which of those areas do you most need help with right now, and why?  OJ: To be honest, we would gladly welcome mentoring in each of the areas. We are always open to listening and learning how to further develop the operation from someone with more extensive experience, especially if the respective mentor can integrate the principles of our vision in the mentoring. SM: A look from your collection will sit in Magasin du Nord’s windows during Copenhagen Fashion Week, tying your work to over a century of Danish retail history. How does that legacy sit alongside the story you’re trying to tell with your own brand?  OJ: The story of Magasin du Nord is one of retail mastery. To us, it’s inspiring from many different facets, ranging from the capacity for sustained cultural relevance to exceptional general business acumen within the retail space. It shows how a strong identity can remain relevant across generations.   images courtesy O. FILES photography Paw Lysemose

An Interview with Anna Myntekær and Yoko Maja Rahbek: Wessel & Vett Fashion Prize Nominees 2026 BONNETJE stood among the nominees for the Wessel & Vett Fashion Prize 2026. For the first time, the winner was announced at Copenhagen Fashion Week SS27, underscoring the Prize’s support for emerging Danish designers and their international recognition. To honour Magasin du Nord’s legacy, the jury observed the label’s creative process during a live studio session in April. Anna Myntekær and Yoko Maja Rahbek shared their ideas about the new circular fashion movement with us. Sandra Myhrberg: The new format puts the jury inside your studio for a live working session on April 9th, not just reviewing a finished collection. What are you most nervous or excited about them seeing up close?  Anna Myntekær and Yoko Maja Rahbek: We were actually most excited that the jury got to experience the process rather than only seeing the finished outcome. Bonnetje has always been built around making, experimenting, and responding to what already exists, so the studio is where our creative work really takes shape. It’s not a linear process — it involves countless fittings, conversations, unexpected decisions and constant refinement. What made us most nervous wasn’t the creative work itself — we have a lot of confidence in that. It was whether our way of working could be seen as something that can scale, be produced and succeed commercially without losing what makes Bonnetje, Bonnetje. When you work with reconstructed garments and an unconventional production model, questions around scalability, production, and sales naturally arise. That was the part we were most excited to discuss and to show that we’ve been thinking carefully about.  SM: Each of you balances a strong aesthetic signature with a need to scale commercially. Where do you personally draw the line between staying true to your original vision and building a business that can grow internationally?  AM & YMR: For us, growth should never mean designing differently just to reach a bigger audience. The identity of Bonnetje comes from working with tailoring, existing garments, and a certain playfulness, and that’s something we don’t see as negotiable. The challenge is finding ways to scale the system rather than changing the creative vision. That means improving production, developing partnerships, and becoming more efficient while keeping the same design philosophy. We’d rather grow a little slower than lose the reason people connected with the brand in the first place. SM: Sustainability and circularity show up differently across your practices, from deadstock and durability to reconstructed vintage, to limited runs, to archival referencing. How do you think about the tension between responsible production and the pressure to keep producing more?  AM & YMR: It’s a tension we think about constantly. Fashion is built around newness, but our starting point has always been that there’s already an enormous amount of value in what exists. Working with vintage garments and existing materials isn’t just an aesthetic choice for us; it’s a design methodology. At the same time, we’re building a business, so we also have to be realistic about production and demand. We don’t believe sustainability is about claiming to have all the answers. It’s about making thoughtful decisions every day, producing with intention, creating pieces that people want to wear for a long time, and continuing to challenge ourselves to find better ways of working as we grow. SM: If you win, the prize includes mentoring in sales, production, PR, and business development. Which of those areas do you most need help with right now, and why?  AM & YMR: Production, sale, and business development would probably have the biggest impact for us right now. Although many of our garments are unique and partially upcycled, we’ve spent the last few years developing systems that allow us to grade, reproduce, and produce our styles in a structured way. Proving that this kind of practice can be scalable has always been important to us. What we would value most now is guidance on how to take those systems to the next level — growing internationally, strengthening production, and building a business that stays true to our way of working.   SM: A look from your collection will sit in Magasin du Nord’s windows during Copenhagen Fashion  Week, tying your work to over a century of Danish retail history. How does that legacy sit alongside the story you’re trying to tell with your own brand?  AM & YMR: We like the contrast. Bonnetje is rooted in rethinking existing garments and questioning traditional ideas of fashion, while Magasin represents a long-standing retail institution. Bringing those two worlds together feels like a reminder that fashion is always evolving. There’s also something symbolic about presenting garments that are built from existing pieces in a space associated with heritage and craftsmanship. We see it as a conversation between past and present rather than a contradiction. Our work is about giving garments another life, and in a way that also reflects the idea of heritage — not as something fixed, but as something that keeps being reinterpreted. images courtesy Bonnetje photography Nynne Henriksen and Kresten Julian Sommer

An Interview with Caroline Bille Brahe: Wessel & Vett Fashion Prize Nominee 2026 CARO EDITIONS stood among the nominees for the Wessel & Vett Fashion Prize 2026. For the first time, the winner was announced at Copenhagen Fashion Week SS27, underscoring the Prize’s support for emerging Danish designers and their international recognition. To honour Magasin du Nord’s legacy, the jury observed the label’s creative process during a live studio session in April. Caroline Bille Brahe shared with us how she achieves a balance between standout design and wearability. Sandra Myhrberg: The new format puts the jury inside your studio for a live working session on April 9th, not just reviewing a finished collection. What are you most nervous or excited about them seeing up close?   Caroline Bille Brahe: I’m excited for them to experience the atmosphere of the studio. So much of Caro Editions happens through conversation, fittings, small adjustments, and intuition. It isn’t a polished process, and I think that’s the beauty of it. I hope they leave with a sense of the care and craftsmanship behind every piece.  SM: Each of you balances a strong aesthetic signature with a need to scale commercially. Where do you personally draw the line between staying true to your original vision and building a business that can grow internationally?   CBB: For me, growth should never come at the expense of identity. I believe you can build a business by becoming more yourself, not less. We think carefully about how we grow, making sure every new category and every decision still feels unmistakably Caro Editions. I want the brand to evolve organically and remain personal, even as it reaches more people. SM: Sustainability and circularity show up differently across your practices, from deadstock and durability to reconstructed vintage, to limited runs, to archival referencing. How do you think about the tension between responsible production and the pressure to keep producing more?   CBB: I don’t think more is always better. I believe in creating clothes that people truly connect with and want to keep for many years. Working with deadstock fabrics, reimagining vintage pieces, and producing in small quantities naturally encourages a more thoughtful pace. Growth is important, but it has to happen responsibly and without compromising the values the brand is built on.  SM: If you win, the prize includes mentoring in sales, production, PR, and business development. Which of those areas do you most need help with right now, and why?   CBB: Business development would be incredibly valuable. We have built a strong creative foundation, and now the exciting challenge is scaling the company in a thoughtful way while protecting the spirit of the brand. Learning from people who have done that before would be invaluable at this stage.  SM: A look from your collection will sit in Magasin du Nord’s windows during Copenhagen Fashion  Week, tying your work to over a century of Danish retail history. How does that legacy sit alongside the story you’re trying to tell with your own brand?  CBB: I love the idea of placing a young brand like Caro Editions within that history. While our expression feels contemporary and personal, we share a belief in quality, craftsmanship, and clothes that have lasting value. Being part of that conversation feels both special and inspiring. images courtesy Caro Editions photography Nikolaj Møller

Marimekko SS27: An Interview with Creative Director Rebekka Bay Rebekka Bay, Creative Director, Copenhagen Fashion Week, 6 August Marimekko presented its Spring/Summer 2027 collection at Copenhagen Fashion Week on 6 August, staging the show atop Langelinieskuret with the Øresund as backdrop. Building on the house’s 2027 theme – the art, the artist, and the landscape – the collection turns to the desert paintings of Georgia O’Keeffe, translating her colour and form into peplum cuts, ruffles, and a mix of archive and new prints, including Vibeke Rohland’s Akkorder stripe. Creative Director Rebekka Bay spoke to us about the inspiration behind the collection. images courtesy Marimekko photography Rasmus Weng Karlsen Sandra Myhrberg: Marimekko’s theme for 2027 is the art, the artist, and the landscape, and this collection looks to the desert. Where did that idea start for you? Rebekka Bay: Our overarching theme for 2027 is the art, the artist, and the landscape. We found inspiration in the work of Georgia O’Keeffe, whose mesmerising depictions of nature captivated us through their rich colours, organic forms, and distinctive sense of place. Equally inspiring was O’Keeffe’s personal style and wardrobe, which, fittingly, is known to include a remarkable collection of Marimekko dresses. For Spring/Summer 2027, we explore the intersection of softness and richness, nature, and abstraction. The collection offers a poetic interpretation of summer, the light and the shadows, infused with the vibrant hues and sculptural forms of desert landscapes and interpreted by Georgia O’Keeffe. SM: Could you tell us a little about the key looks of this collection? RB: This season, we will introduce more feminine details and silhouettes. Peplum cuts, expressive ruffles, and airy flounces bring a playful yet sophisticated dimension to summer dressing. These sculptural shapes are enlivened by a combination of beloved archive prints and mostly new print designs, creating a dynamic dialogue between something new and something familiar. SM: Vibeke Rohland’s new stripe, Akkorder, leaves a space uncoloured between each colour, where Marimekko has traditionally let colours overlap. What drew you to that idea? RB: Distinctive design details have always been integral to the character of a Marimekko print. During her artist-in-residence period in Helsinki, Vibeke immersed herself in the unique process through which Marimekko prints are conceived and brought to life. We continued the collaboration past the artist-in-residence period, which allowed Vibeke to explore further. As part of this exploration, she created two interconnected prints. One of them, Akkorder, intentionally leaves a fine uncoloured space between each field of colour. Inspired by this negative space, she developed a second sibling print that transforms those uncoloured areas into the central visual element, giving presence to what would otherwise remain unseen. SM: The palette runs from pear sorbet and vanilla ice all the way to fiery reds. Do you start with colour, or does it come after the silhouette? RB: At Marimekko, everything begins with the print. Each season starts with the selection of prints, from which we build the collection’s colour harmonies and deliberate colour contrasts. For Spring/Summer 2027, the colours and forms found in Georgia O’Keeffe’s landscape paintings served as a guiding influence, shaping both our print selection and the collection’s distinctive palette. SM: You’ve turned a rooftop dining table at Langelinieskuret into a runway, with the Øresund behind it. How much does the setting shape how a collection reads? RB: To me, presenting a collection is about bringing together multiple creative elements, from styling and sound to the setting itself. We strive to create a world that is both immediately accessible and conceptually engaging, allowing the collection to be experienced on several levels. This season, a soundscape and spoken word by Ringa Manner performed in Finnish, combined with the backdrop of Copenhagen’s waterfront, captures the essence of the collection. Together, these elements reflect its central themes: the art, the artist and the landscape, as well as the poetry of dressing. SM: Marimekko is so associated with optimism. What do you hope people carry with them when they leave the show? RB: My hope is always that Marimekko inspires people to embrace print and color in their everyday lives. Through our collections, we want to encourage individuals to experiment, express themselves freely, and discover new ways of styling prints that reflect their own unique sense of personal style.

Fabienne Chapot X LEVENS text Abby Driesbach As Fabienne Chapot approaches its 20th anniversary, the Amsterdam-based label enters a new chapter. One shaped by reflection, individuality, and a renewed sense of purpose. Marking the occasion is its first-ever jewellery collection, created in collaboration with Barcelona-based glass jewellery studio LEVENS. Rooted in craftsmanship and united by a shared appreciation for colour, creativity, and imperfection, the limited-edition collection celebrates self-love through four hand-blown pieces designed to be cherished rather than consumed.   Launching during Copenhagen Fashion Week, the collaboration arrives as fashion increasingly embraces emotional storytelling alongside aesthetics. We spoke with Fabienne Chapot about finding the right creative partner, why now felt like the moment to champion self-love, and how meaningful design can create lasting connections beyond the seasonal cycle. Abby Driesbach: Fabienne Chapot has always embraced bold colors and expressive design, while LEVENS works with hand-blown glass and imperfection as craft. What made LEVENS the right creative partner, and how does this collaboration complement the Fabienne Chapot universe?   Elias De Hulsters: LEVENS embodies so many of the values that are central to Fabienne Chapot: creativity, craftsmanship and female entrepreneurship. As we were shaping the new direction of our brand, we realised there was already a natural dialogue between our two worlds.   What particularly drew me to LEVENS is their celebration of imperfection through hand-blown glass. In a time when so much is becoming automated and AI-generated, there is something incredibly valuable about objects that are made entirely by hand. Every piece carries its own unique character.   While our focus has always been on clothing, shoes and bags, we had been looking for the right opportunity to expand into jewellery. LEVENS felt like the perfect partner to take that first step. With our AW26 collection centred around self-love and embracing what makes us unique, the collaboration felt completely authentic. Both brands celebrate individuality, bold expression and finding beauty in what makes us different.  AD: The collection centers on self-love, right down to the “I LOVE ME” message. What made now the moment to build a collection around that idea?   EH: The theme of self-love started as something very personal. Around my 30th birthday, I found myself reflecting on what it really means to grow up. Becoming an adult isn’t about becoming someone new, it’s about letting go of the things that no longer serve you while holding on to the parts of yourself that truly define you.   At the same time, Fabienne Chapot was going through its own transformation. During a rebrand, you’re asking very similar questions: what do we leave behind, what do we protect, and what is our true identity? Those two journeys felt deeply connected, making self-love a natural theme to explore.   As we approach our 20-year anniversary, it also felt like the right moment to reflect on our journey, celebrate how far we’ve come, and encourage women to celebrate themselves a little more too. The “I LOVE ME” message is simple, but it’s a reminder we could all use. AD: Both brands celebrate craftsmanship and individuality. How did you ensure that each brand’s identity remained authentic throughout the collaboration?   EH: The collaboration felt very natural because both brands already shared so much creatively. Rather than trying to merge two completely different identities, we built on values we already had in common.   LEVENS brought their beautiful hand-blown glass techniques, while we introduced colour combinations inspired by our AW26 collection and incorporated the “I LOVE ME” message into the designs. The collection also features motifs like the rose, alongside the bold use of colour and expressive craftsmanship that both brands are known for.   It never felt like either brand had to compromise. Instead, it felt like creating something together that genuinely belongs to both of us.   AD: The collection is intentionally small, with just four handcrafted pieces. Was exclusivity always part of the vision?   EH: Absolutely. As this is our very first jewellery collection, we wanted to begin with something small, thoughtful and exclusive. We also wanted to avoid overproduction and focus on creating something truly special.   We’ve always believed you don’t need a large collection to tell a meaningful story. Every piece was designed with intention, from the colours and shapes to the craftsmanship behind it. Rather than creating more, we wanted to create timeless pieces that become part of someone’s personal collection for years to come. Quality, emotion and longevity have always been more important to us than quantity. AD: The collection debuts during Copenhagen Fashion Week. Why was that the right stage for this launch?   EH: Copenhagen Fashion Week has become a place where creativity, individuality and craftsmanship are genuinely celebrated. It attracts a community that appreciates thoughtful design and brands with a strong point of view.   After introducing our new brand direction there last year, returning feels like coming back to a community that already understands who we are becoming. It felt like the perfect moment, and the perfect audience, to introduce this collaboration.   AD: Fashion is increasingly expected to tell stories with emotional value, not just sell products. What story do you hope people take away from this collaboration, and how does that emotional value stack up against aesthetics for you?   EH: I’ve always believed that emotion creates the strongest connection. Beautiful products might catch your attention, but stories are what people remember.   This collection is an invitation to celebrate yourself. Whether someone buys a piece as a reminder to embrace who they are, to mark a personal milestone, or simply because it makes them smile, we hope it carries personal meaning. It’s also something you can gift to a friend as a celebration of them.   Jewellery is such an intimate form of self-expression, and if these pieces encourage women to embrace their individuality and treat themselves with a little more kindness, then we’ve achieved exactly what we hoped for. AD: Consumers today are looking for pieces

DeMellier: Where Elegance Meets Impact Mireia Llusia Lindh built DeMellier on a refusal to compromise. In a world where luxury often comes at a cost, her vision was to create handbags that are as ethically impeccable as they are exquisite. The result is a brand redefining modern luxury, where sumptuous design meets unwavering integrity.   text and fashion Ulrika Lindqvist photography Ellen Simone hair and makeup Alexandra Aronsson / Agent Bauer  photo  assistant Isabella Arnler models Izzy / Mikas  & Paulina / Mikas all bags Demellier A self described perfectionist, Mireia never accepted no as an answer. She embarked on a mission to craft handbags with no compromises. They had to embody the highest quality and timeless elegance while being ethically made and socially conscious. Thus, DeMellier was born. Each piece is crafted in trusted European factories using the finest sustainable materials. For every purchase, DeMellier funds lifesaving vaccines and treatments for children in need, proving that luxury can be a force for good.   Barcelona born Mireia settled in London after years abroad. With an MBA from Harvard and strategy experience at Burberry and LVMH, she brought a sharp business acumen to the world of fashion. A mother of three, her passion for children and women’s empowerment became the foundation of DeMellier. The brand’s name itself tells a story of heritage and modernity. De originates from her grandmother, a descendant of knights, lords, and marquesses whose lineage traces back over 500 years to southern Spain. Mellier comes from Mireia’s name of French descent, capturing her modern creative spirit. Paulina wears leather blazer  Baum und Pferdgarten blazer Tiger of Sweden top Baum und Pferdgarten skirt Tiger of Sweden stockings Swedish Stockings  heels  Vagabond sunglasses Max Mara   Izzy wears suede jacket Max & Co/Zalando shirt MQ jeans Tiger of Sweden heels ATP Atelier  sunglasses Guess  Paulina wears  cardigan AllSaints / Zalando  dress AllSaints / Zalando  earrings aim’n   Izzy wears jacket Sézane dress MQ boots ATP Atelier  sunglasses Max Mara  Each piece is designed in London by an all female team to make women feel special and empowered. The aim is to create modern yet timeless designs that stand the test of time. When creating the collections, Mireia and her team focus on the women who will wear the pieces. Each bag balances art inspired elegance with everyday practicality. These are pieces meant to carry a woman’s essentials while carrying forward her confidence and individuality.   DeMellier also serves as a platform to treasure and champion women. This commitment is evident throughout the business, from the 90 percent female team at Headquarters to promoting female talent and equality with partners, as well as regular features on female role models.   In Somalia, where one in six children don’t reach age six, each DeMellier purchase changes this. The permanent initiative A Bag, A Life channels funds through SOS Children’s Villages, turning luxury into lifesaving care. As a mother, aunt, and godmother, Mireia finds it difficult to accept the loss of a child. While some are fortunate to have access to the best medical care, millions of children die from preventable diseases at an alarming rate. For every item purchased, DeMellier funds vaccines and treatments to save the life of a child in need. blazer Baum und Pferdagrten vest Tiger of Sweden dress & Other Stories blazer Baum und Pferdagrten vest Tiger of Sweden dress & Other Stories shoes ATP Atelier  Ethical and sustainable production is a core value. DeMellier focuses on three key areas: ethical and sustainable manufacturing, sustainably sourced materials, and sustainable operations. The brand is committed to researching new materials and practices to remain at the forefront of ethical and sustainable standards. This includes extending the life of products and using the most sustainable materials possible. DeMellier also encourages consumers to buy less, buy consciously, and consider the origin and social conditions of their purchases. Together, through responsible manufacturing and consumption, a real difference can be made.   DeMellier is a London based, award winning handbag brand founded in 2017 by Mireia Llusia Lindh. The vision was to design ethically crafted, consciously made handbags that empower women while giving back. Each piece is handcrafted in trusted European factories using sustainably sourced materials. The leathers are gold and silver rated by the Leather Working Group and are by products of the food industry. DeMellier doesn’t just create handbags. It creates a movement where beauty, ethics, and impact are inseparable. And it invites every woman to carry that mission with her. dress MQ boots ATP Atelier  sunglasses Max Mara cardigan AllSaints / Zalando  dress AllSaints / Zalando  sunglasses Max Mara  earrings aim’n suede jacket Max & Co / Zalando shirt MQ leather blazer  Baum und Pferdgarten blazer Tiger of Sweden top Baum und Pferdgarten skirt Tiger of Sweden stockings Swedish Stockings  heels  Vagabond sunglasses Max Mara Paulina wears leather blazer  Baum und Pferdgarten blazer Tiger of Sweden top Baum und Pferdgarten skirt Tiger of Sweden stockings Swedish Stockings  heels  Vagabond sunglasses Max Mara   Izzy wears suede jacket Max & Co / Zalando shirt MQ jeans Tiger of Sweden heels ATP Atelier  sunglasses Guess  dress COS boots Vagabond  dress & Other Stories shoes ATP Atelier  coat Helly Hansen shirt Eton skirt aim’n stockings Swedish Stockings flats Scorett  Paulina wears  cardigan AllSaints / Zalando dress AllSaints / Zalando earrings aim’n   Izzy wears jacket Sézane dress MQ boots ATP Atelier  sunglasses Max Mara  Paulina wears leather blazer  Baum und Pferdgarten blazer Tiger of Sweden top Baum und Pferdgarten skirt Tiger of Sweden stockings Swedish Stockings  heels  Vagabond sunglasses Max Mara   Izzy wears suede jacket Max & Co / Zalando shirt MQ jeans Tiger of Sweden heels ATP Atelier  sunglasses Guess  coat Helly Hansen shirt Eton skirt aim’n stockings Swedish Stockings flats Scorett  leather blazer  Baum und Pferdgarten blazer Tiger of Sweden top Baum und Pferdgarten skirt Tiger of Sweden stockings Swedish Stockings  heels  Vagabond sunglasses Max Mara dress COS boots Vagabond  suede jacket Max & Co / Zalando shirt MQ jeans Tiger of Sweden