Fashion Articles

In Conversation with Samsøe Samsøe: Inside the Zalando Collaboration Could you describe the new ‘Summer in the City’ capsule in your own words, and what are some standout pieces or design elements in this collection that you’re particularly excited about? Samsøe Samsøe: Summer in the City is inspired by the feeling of spending summer in a Scandinavian city, where life naturally moves outdoors and the days often continue long into the evening. We wanted to create a wardrobe that feels effortless and versatile, with pieces that work across different moments of the day without feeling overstyled. The capsule brings together womenswear and menswear through a shared design language. There are pieces that naturally sit across both wardrobes alongside styles developed specifically for women. I like that balance because it reflects how many people dress today. It’s less about defining who something is for and more about how it fits into someone’s personal wardrobe. Tell us about the creative process leading up to the collection. Where did you draw your inspiration? SS: The collection started with observing how people experience the city during summer. There is a certain optimism that comes with the season. People spend more time outside, the pace feels different, and the city becomes a place for gathering as much as moving through. We looked at Scandinavian architecture, urban landscapes and the contrast between clean lines and softer natural elements. But most importantly, we were inspired by real life. We always want to create clothes that become part of someone’s everyday wardrobe rather than existing for a single moment. Design is a collaborative process, so throughout the development we worked closely across design, fabrics, colour and styling to make sure every piece felt connected. images courtesy Zalando In your opinion, what is the essence of the 2026 Scandinavian urban summerstyle? SS: For me, it is about ease and confidence. Scandinavian style has never been about wearing more than you need. It is about thoughtful choices, quality materials and silhouettes that feel relevant beyond one season. I think people are becoming more personal in the way they dress. They mix tailoring with casual pieces, combine womenswear and menswear influences, and build wardrobes that reflect their own lifestyle rather than following trends. That feels very contemporary to me. What does an ideal Scandinavian summer day look like for you? SS: It starts with coffee outside before the city gets busy. Then it’s a bike ride to the studio and spending the day with the team, which always feels different during summer because everyone brings a lighter energy. The best part is the evening, when there is still daylight and no real pressure to be anywhere. Meeting friends outside, sitting by the water or simply walking through Copenhagen is often enough. Those long Nordic evenings are something very special. In the Nordics, urban summer lifestyle is deeply tied to festival culture. Do you attend festivals yourself? And if so, what has been your most memorable festival moment? SS: I enjoy festivals because they bring together music, creativity and people from very different backgrounds. It’s one of the few places where personal style feels completely natural and individual. What stays with me most is not necessarily one particular performance, but the atmosphere. When the sun starts to set, everyone is together, and there is a real feeling of openness and community. That sense of freedom was definitely something we wanted to capture in the collection. In the Nordics, city summer living and festival culture are deeply connected. How do these pieces transition from everyday city routines to the vibrant, expressive atmosphere of a major urban festival? SS: We designed the capsule with flexibility in mind. The same outfit should be able to take you through different parts of the day with only small styling changes. Whether it’s relaxed tailoring, an oversized shirt, lightweight outerwear or an easy dress, the pieces are designed to be layered and styled in different ways. Many of them can also move naturally between womenswear and menswear wardrobes, which creates even more possibilities for personal styling. For us, that reflects modern dressing. People want clothes that adapt to their lives rather than the other way around. This capsule is launching exclusively across all Zalando markets. What makes Zalando the ideal partner for Samsøe Samsøe when bringing a contemporary Scandinavian fashion narrative to a broad, style-conscious audience? SS: Zalando has built a strong relationship with customers who appreciate contemporary fashion and quality, so it feels like a natural partner for us.What makes this collaboration exciting is the opportunity to present a complete Samsøe Samsøe story through both womenswear and menswear. While each collection has its own identity, they share the same values and design philosophy, and many of the pieces naturally complement one another. That reflects the way we approach design as a brand. Together, we can bring a contemporary Scandinavian perspective to a wider audience while staying true to who we are. Looking ahead, what are your creative ambitions for the brand, and how do you see partnerships with Zalando moving forward? SS: Our ambition is to keep refining what contemporary Scandinavian fashion can be. We are always looking at how we can make our collections feel more relevant, more considered and ultimately more lasting. We want to continue building wardrobes that people come back to season after season. Partnerships like this allow us to reach new audiences and share our design perspective in meaningful ways, while remaining consistent with the identity of the brand. How do you stay inspired and motivated in an industry that’s constantly evolving and competitive? SS: For me, it starts with curiosity. Inspiration comes from many places, fromarchitecture and art to travel, conversations, and simply observing how people dress in everyday life. At the same time, I think it is important not to constantly look for the next new thing. Some of the strongest ideas come from refining something rather than reinventing it. I find it motivating to create clothes that people

Zalando Visionary Award 2026: An Interview with INSTITUTION’s Designer Galib Gassanoff Zalando crowned INSTITUTION, under the creative direction of Galib Gassanoff, as the winner of the Zalando Visionary Award 2026, unveiling its SS27 collection at Copenhagen Fashion Week. At Copenhagen Contemporary, the Zalando Visionary Space invited visitors to immerse themselves in the world of fashion, technology, and craftsmanship via interactive workshops, blazing showcases, and hands-on activations. Now celebrating its fourth year, the Zalando Visionary Award stands as a testament to Zalando’s pledge to nurture innovation, drive social impact, and champion diverse creative voices in fashion. Last week, Zalando returned to Copenhagen to celebrate the SS27 season of the Zalando Visionary Award. INSTITUTION, this year’s winner, presented its debut runway show at Copenhagen Fashion Week. Zalando also welcomed fashion enthusiasts to the Zalando Visionary Space, a two-day exhibition platforming the creative talent behind the award. Designer Galib Gassanoff led INSTITUTION’s Copenhagen Fashion Week debut with its SS27 collection, YAD, at the National Gallery of Denmark. YAD, which means ‘foreign’ and ‘memory’ in Azerbaijani, traced the process from raw materials to finished clothing and explored ideas of belonging and cultural heritage. The collection mixed modern design with the skills of Georgian communities where Gassanoff grew up. Local craftspeople helped create knitted pieces, while models walked barefoot in handmade jorabs, honouring the Caucasus tradition of removing shoes before entering a home. Sculptural pieces made from cotton cord showed the artisans’ skill and kept old techniques alive. As the winner of the Zalando Visionary Award 2026, INSTITUTION received a €50,000 prize. And yet, beyond financial support, Zalando is also offering guidance, customised business support, and connections to important industry groups. This comes as part of its overall commitment to new ideas, social impact, and diverse creative talent in fashion. What does winning the Zalando Visionary Award 2026 mean to you at this stage in INSTITUTION’s journey? Galib Gassanoff: It is a meaningful moment because it acknowledges a way of working that has always been rooted in patience rather than speed. Since the beginning, INSTITUTION has been about building something with purpose, something that values craft, cultural knowledge and human connection as much as the finished garment. To receive this recognition at this stage gives us confidence to continue investing in those values. It also creates opportunities to amplify the conversations we have been trying to initiate around preservation, education and the future of craftsmanship. INSTITUTION is recognised for its commitment to craft and cultural preservation. How would you define the core vision of the brand today? GG: I see INSTITUTION as more than a fashion label. It is a platform where clothing becomes a way to preserve knowledge, tell stories, and create dialogue between generations. The vision is to demonstrate that craftsmanship is not something nostalgic or static; it is a living language that can evolve alongside contemporary design. Every collection is an attempt to build that bridge between heritage and modernity. images courtesy INSTITUTION photography James Cochrane The Zalando Visionary Award celebrates design, innovation and social impact. How do these principles come through in your work at INSTITUTION day-to-day? GG: For me, innovation begins with asking better questions rather than simply creating something new. Every decision, from the way we develop patterns to the people we collaborate with, is guided by the idea that design should have meaning beyond aesthetics. Social impact comes through supporting craftspeople, preserving endangered techniques, and creating opportunities for cultural exchange. Design is only successful when it creates value not just for the wearer, but also for the communities involved in making it. Your practice is deeply informed by heritage and traditional craft. Does your cultural background continue to shape the way you design? GG: Absolutely. Growing up in Georgia gave me an understanding of craftsmanship that goes beyond technique. It taught me that making things is connected to memory, resilience, and identity. I don’t approach heritage through literal references or folklore. Instead, I try to translate its values – precision, respect for materials, generosity of making – into contemporary forms that can feel relevant today. INSTITUTION has grown beyond the traditional boundaries of a fashion brand. Was that always your ambition, or did the work naturally evolve into a wider platform for craft and cultural preservation? GG: It was always the intention. From the beginning, I didn’t want to build just a fashion label. I wanted to create a platform where fashion could exist alongside craft, cultural research, and knowledge-sharing. The name INSTITUTION itself reflects that ambition; it suggests a place where ideas are preserved, developed, and passed on. Clothing is one expression of that vision, but it has never been the only one. Collaborating with artisans, documenting traditional techniques, and creating dialogue around cultural heritage were always fundamental to the project. For me, fashion is a powerful medium because it connects people, but the larger goal has always been to build an institution that contributes to preserving and evolving craftsmanship for future generations. Innovation and the usage of traditional techniques are often seen as opposing forces. How do you preserve craftsmanship while continuing to push your work forward creatively? GG: I don’t believe they are opposites. Craftsmanship has always evolved. Every tradition exists because someone was willing to adapt it to their own time. My role is not to preserve techniques unchanged, but to understand their essence and allow them to evolve through new materials, new technologies, and different contexts. Respecting tradition doesn’t mean only repeating the past; it means also giving it a future. What does ‘visionary’ mean to you personally within the context of fashion right now? GG: It is about having the courage to stay committed to an idea even when it doesn’t follow the industry’s expectations. It means thinking long-term, building responsibly, and contributing something meaningful to culture rather than simply responding to the market. For me, vision comes from consistency and curiosity. How do platforms like the Zalando Visionary Award help shape the future of independent design voices like INSTITUTION? GG: Independent designers often

Stockholm Consolidates Its Role as the Nordic Fashion Hub with Fashion Week Trade Fashion Week Trade returns to Stockholm Fashion District from 10 to 14 August, bringing together over 700 brands, thousands of buyers, a Ukrainian fashion delegation, and a conference on AI and new business models. Hosted at Stockholm Fashion District, this year’s Fashion Week Trade takes place from August 10 until  August 14, welcoming over 700 Swedish and international brands alongside thousands of buyers, distributors and decision-makers. Spanning 21,000 square metres across Stockholm Showroom, Stockholm Shoe House and Nacka Strandsmässan’s two halls, in partnership with Alecta Fastigheter, the event positions Stockholm as the primary trade gateway to the Nordic market. Among the brands showing are Björn Borg, GANT, Jennifer Blom, and Rock and Blue, meeting buyers from independent retailers, department stores, and e-commerce platforms. Timberland and Ilse Jacobsen are also opening permanent showrooms in the district during the week. Sweden’s fashion industry generates approximately 178 billion kronor annually, employs 41,000 people, and exports fashion worth 41 billion kronor, according to the 2025 Swedish Fashion report.  “Sweden is a fashion nation with real weight. We export fashion to the whole world, and at the same time, more and more international players are choosing Stockholm as their entry point to the Nordic market,” says Helena Waker, CEO, Trade Partners Sweden and Stockholm Fashion District. For the first time, a selection of Ukrainian fashion companies will participate in Fashion Week Trade, with the aim of building new business connections and raising the profile of Ukraine’s fashion industry internationally. The initiative frames trade as a tool for resilience and reconstruction alongside commercial opportunity. Sweden’s Minister for Foreign Trade and Aid, Benjamin Dousa, will visit the event during the week as part of the government’s work with cultural and creative industries. Running parallel to the trade fair is the Transformation Conference, organised by Scandinavian Mind, bringing together more than 150 decision-makers from the fashion and technology sectors to discuss AI, digitalisation, circular solutions, and new business models. “For the fashion industry, the task is to translate AI, digitalisation, and circular solutions into concrete business outcomes,” says Waker. “The Swedish fashion industry can and wants to transition, but it requires fair conditions, coordinated policy, and free trade on equal terms.”

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