Fashion Articles

Between Girlhood and Apocalypse: An Interview with Hanna Nordenhök Ulrika Lindqvist With a voice both poetic and political, Swedish writer Hanna Nordenhök crafts novels that explore power, language, and the dark undercurrents of human systems. In this conversation, she reflects on translation as a form of haunting, the aesthetic of surfaces, and why fiction may be the last refuge for truth in a post-post-truth world. Ulrika Lindqvist: Caesaria was originally published in Swedish in 2020 and only last year released in English translation. How did it feel to see your work reach a new audience, four years later and in a different language? Hanna Nordenhök: The mesmerizing experience of travelling with one’s words – that of which being translated consists – is a rare gift not given to all authors, and I am deeply grateful for the translations of Caesaria that’s been made so far: the English and the Spanish one’s as well as the upcoming Portuguese and French. That a novel like Caesaria, with its peculiar universe and very Nordic setting and rural landscape, would reach Mexican, Chilean, Canadian, British, Brazilian and French readers was a surprise. And another thing about being translated is of course that it gives you the sometimes wonderful, sometimes horrific, opportunity or obligation to revisit your earlier writing. With her translations Caesaria keeps travelling with me even though I created her more than six years ago, which means I cannot avoid her: I need to face the reasons why I wrote her and felt the necessity of creating her world exactly like that, and not in another shape or expression. UL: Were you involved in selecting Saskia Vogel as the translator for Caesaria? If so, what drew you to her as a collaborator, and how would you describe your relationship to the translation process? HN: Actually it was the other way around: it was Saskia Vogel that found her way to Caesaria. Which means it was partly thanks to her that the book was published in the UK and Canada. And to have Saskia as a partner in crime and literary creation is pure joy, a wonderful human being and a brilliant translator – I consider myself very lucky. The fact that Saskia, much like myself, also possess the interesting, ambivalent and deeply enriching artistic position of being both author and translator, is another dimension to it that I really cherish being in dialogue with. With her I have an ongoing meandering conversation on writing and translating, but also on Birgitta Trotzig, kids, life, the experience and memory of girlhood as a never-ceasing source of knowledge about this dark and surreal world… As I said: pure joy. UL: What initially sparked the idea for Caesaria? Were there particular events, images, or questions that guided you during the writing process? HN: The spark for Caesaria was a foot-note I found in a dissertation in history of ideas, that I was reading as part of my research for another novel, Asparna from 2017, where I explored 19thCentury reformatory detention centers and institutional violence against “savage children”, that is, criminal or anti-social low-class children that were subjected to the disciplinary system of that very emblematic epoch. This dissertation, though, dug into the history of Swedish gynecology, obstetrics and medical science on woman diseases, also during late 19th Century. And in that little foot-note I found the story of a girl born in 1862 through the first Caesarian section made in the city hospital of Uppsala by one of the pioneers in the field, a well-known doctor that operated on a poor, single woman who died after a couple of days: the orphaned girl was then named Caesaria by this very doctor, after the cut that brought her to life. I found this story so compelling and macabre, full of interesting aspects of power and powerlessness that had to do with class society as well as the male scientific gaze at the time that has shaped notions and fantasies on woman and women bodies prevailing up until our days. Around the real case Caesaria my own fictitious Ceasaria started to take shape in my head, she awoke so many thoughts on girlhood in patriarchy that I needed to explore. The fact that my work with the novel also took place while the first waves of the #metoomovement started to burst out was, of course, another contributingfactor, that in writing it formed a necessary bridge between history and present. UL: In your latest novel, Underlandet (Wonderland), you shift from the historical settings of your earlier works to a contemporary environment. How did that change affect your writing? Did you experience the creative process differently? HN: I find that I, in all of my novels to some extent, have been exploring zeitgeists, that is, certain epochs fashion of thoughts, political agendas, ideology productions and dominant ideas on what it means to be human or not – and how life takes shape inside different systems of selection and de-humanization. Who is cared for and who is abandoned or exploited in such systems?, has been a recurring question for me in my writing. In that sense, I feel there is little or none difference between my historical fiction and Wonderland, a novel that also, to me, very much consists in an exploration on the spirit of our times – or maybe more correctly the spirit of post-truth society that has led up to the moment we’re living right now: a post-post-truth world where all masks have fallen and what we see is pure violence, the shameless and non-disguised rise of fascism all over the planet. Which will be interesting to dwell upon when the Polish and Spanish translations of Wonderland will be published this fall. But maybe I’d rather describe the shift between historical fiction and contemporary fiction in my writing as a shift, or even connection, between past and apocalypse. For me it has been the same desire or compulsion to understand our existence that’s led me intohistorical settings and more contemporary ones. The bridge, I would say, is this sense of apocalypse – both as a revelation of a disastrous future or of those hidden undercurrents that rule our

Felix von Bahder on Deadwood’s PS26: “Beauty in the Breakdown” text Ulrika Lindqvist Ulrika Lindqvist: Please tell us about the process of creating the PS26 runway show? Felix von Bahder: I started with a question: What does it feel like to land in a city that’s pulsing faster than your own heartbeat? Or to face a technology so alien that it makes you feel completely free and completely lost at the same time? From there we put together a mood-board of late-night escalators, neon-tinged rain, cords and cables forming an electric mess. We built the show like a mixtape: eclectic, raw and personal. Actually, the whole process for this collection was anchored in music. Guess it always is for us. Lately a lot of goth, new romance and industrial stuff from the 80’s and early 90’s. UL: How did you choose the location for the runway show? FvB:Stockholm’s Parkaden parking house is a concrete cathedral six stories above street noise, a brutalist icon by Hans Asplund and one of those buildings that, once you notice it, can never be unseen. We wanted to create a tranquil, almost sacred space for the audience, an oasis smack in the heart the city’s buzz. Perfect for a story about disorientation and underground salvation. UL: What does the PS26 collection represent and what was the main inspiration for this collection? FvB:It’s a love letter to outsiders who arrive in the metropolis and get swallowed by its circuitry. It’s also a cautionary tale of the seduction of technology and its dubious promise of liberation. We wanted to capture the allure of the big city, both the glitz and the gritty. Black leather, patch-worked from some past collections. Re-cut vintage tees worn underneath exaggerated faux fur pieces. Sensual snake lace next to scuffed denim. I wanted to take the collection into the comfort of basement venues where the misfits find each other, and the lights are always red. Ulrika Lindqvist: What was the biggest challenge creating your PS26 collection? FvB: Time. Joining Stockholm Fashion Week was not really our plan, but when we got asked, we simply could not resist a homecoming! But what were we going to show? We were already doing SS26 in Copenhagen in August, and we couldn’t present the same stuff twice! So, we figured we had to create a brand new chapter to the story in just under 2 months. Pushing our up-cycling methods to the limit, which means hunting, cutting, and re-aligning many pieces into a few coherent silhouettes, the studio was a creative chaos! But it all worked out in the end! UL: What is your approach to showpieces, how much of the show is showpieces? FvB: Normally, Deadwood garments are made to be worn and loved. But sometimes we like to drive home an idea or a concept with one-off showpieces, who’s main purpose is to ask questions or provoke emotions. But from the PS26 show I’d say all looks will make it into production, although some in pretty small numbers. Some of the vintage-tee concepts will be tweaked to make them more producible at scale. That’s it. UL: How would you describe the Deadwood customer FvB: Deadwood is for music lovers, however genre-fluid. Age, gender, passport stamps, none of that matters. We’re a group of humans that value things that last, and celebrate scars that tell stories. Ulrika Lindqvist: What can we expect from Deadwood in the future? FvB: More risk, same conviction. We’re doubling down on circular and next-gen materials, breathing some new life in our mycelium project, and plotting a few pretty cool collaborations. The second chapter of this collection, which we will present in Copenhagen, dives deeper into that existential thin-ice space where mankind and machines collide. I’ve been looking forward to this one for a long time now. After that, I’m going sailing or something, haha.

necklace Izabel Display photography Sandra Myhrberg fashion Jahwanna Berglund hair and makeup Elva Ahlbin an interview withVinchy Chan textMaya Avram While creative talent and a discerning eye are stable stakes to succeeding in fashion, strategy is equally crucial to establishing a sustainable career — and one most industry players unfortunately lack. One reason is that fashion designers are becoming increasingly individualistic, and consequently, reluctant to ask for support. This starts as early as fashion school, where educators encourage emerging talent to see themselves as bitter competitors rather than potential collaborators; it goes on to impact small-scale businesses who can’t seem to handle their admin (cult-favourites like Y/Project, Christopher Kane and The Vampire’s Wife have been forced to shut down in recent years.) garment by’s premise, therefore, is a simple yet promising one: entrust the business side of things to the startup’s co-founders, former Strategy Consultant Vinchy Chan and Operations Officer Ana Ciobanu, and focus instead on designing the ‘Icons’, the platform’s range of timeless clothing essentials. Each Icon piece is created with consideration of research data and insight, and ethically produced by garment by’s network of vetted suppliers and manufacturers in China. The result? A thoughtful collection of bespoke garments meant to last a lifetime. I caught up with Chan ahead of the spring launch of the ‘Love Shirt’, celebrating the noblest emotion of all. MA: What does your development process look like, and how does it challenge those systems? VC: One of the biggest problems of the current system is overstock. Stock is planned and produced usually a year ahead, and at the six-month mark, you need to put in orders with your sourcing and production partners, which many brands do without any insight or data. So they often overproduce and create merchandise that is killing their business. 70 per cent of designer labels’ cash gets tied up in stock they never know if they’ll be able to sell. That cost is priced in for consumers — ever wonder why a designer shirt costs £800? Imagine if we didn’t have to pay that premium. You could shave 30 to 50 per cent off the buying price, which is great for consumers in this economic downturn. Not to mention that stock is the biggest environmental polluter, with 30 per cent of overstock going to landfill. Consumers nowadays are more and more aware of those issues and the impact of their buying behaviours. That’s why we adopted an on-demand model, to empower designer labels to only produce what’s sold. We are now able to deliver the product within four weeks, but hopefully, with tech and data innovation, we will eventually be able to deliver it within two weeks. Maya Avram: This issue’s theme is ‘Alchemy of Fates,’ or how we break down conforms to build something new that realigns us with the right path. Do you feel that resonates with garment by’s mission? Vichy Chan: 100 per cent. As an outsider to fashion, I see things with a fresh perspective, including practices that don’t serve us anymore. I respect that big brands have to make sure, in this downturn, that they can protect their revenue in line with the matrixes they know are going to sell, but that is just adhering to conform. It tells us that fashion is about creativity, but also that there are many implicit rules. As a business, garment by is ready to break away from those rules and those legacy systems that don’t serve us anymore. MA: How do you find the designers you work with? VC: There’s an urgency to our mission because the whole idea was to create a business infrastructure to help designers create core collections. We targeted designers who sadly had to close down their businesses in recent years but whose respective communities are craving for their comeback. Our ultimate goal, though, is to engage a bigger pool of designers, whether it is an emergent designer or a more established designer, award-winning designers or household names. We are ready to connect. MA: How did you come to create the Icon collection? VC: The Icon collection came from market insight. We are looking into each clothing category and finding that offering gap; whether it is a product feature, a style, the wearer’s experience or the pricing. And through that data, you ensure the commerciality and practicality of the clothes before you even go into production. When we talk to designers, they really appreciate that insight because they often lack the bandwidth to think about what can sell that also intersects with what they enjoy designing. MA: Is there an active dialogue between you and the designers? How much of the relationship is a push-pull? VC: We come from a very consumer insight-driven background and try to bring that value to the designers and co-create those pieces together. Before even going to production, we make sure that we have good enough learning, and keep building upon it. After we created the first iteration of our first Icon [a lush wool and cashmere blend coat — MA], we realised the fabric we sourced didn’t meet the needs of our consumers. So we quickly iterated a second version using a new fabric because we knew there was an unmet need there. This way of working was anchored in when I worked in product innovation but lacked in fashion. When the orders came through they all fit that exact persona, which was a nice surprise, but we still have a lot to do to understand them in a more nuanced way. Our on-demand model is quite new to this target audience, and we are still on a journey to make this the norm to shop good quality, unique designer items, and scale it to more audiences that could buy with us in the future. MA: Would you say you’re on a constant learning curve? What lessons have you learnt from the Icon coat launch, and what questions are still left unanswered? VC: The most important thing we learnt from the launch was

Inside the World of Stylein: A Conversation with Founder Elin Alemdar text Jahwanna Berglund photography Niklas Nymancourtesy of Stylein For over two decades, Elin Alemdar has shaped Stylein into one of Sweden’s most beloved fashion houses, defined by its warm minimalism, architectural silhouettes, and timeless approach to dressing. Now, with the opening of a new flagship boutique on Mäster Samuelsgatan 6, Stylein enters a bold new chapter, one that invites customers into the heart of the brand, both physically and emotionally. In this intimate conversation, Elin Alemdar, the founder of Stylein, speaks about the vision behind the new space, the evolution of the brand since its early beginnings, and the creative partnership that continues to drive it forward. From mood boards to mood shifts, Scandinavian heritage to international expansion, this is a behind-the-scenes look at a brand that remains deeply rooted in its DNA while confidently stepping onto the global stage. Jahwanna Berglund: Congratulations on the new boutique! Mäster Samuelsgatan 6 is right in the heart of Stockholm’s fashion scene. What drew you to this particular location, and what does it represent for Stylein at this stage? Elin Alemdar: We have been longing for this opportunity for such a long time! Biblioteksstan in Stockholm really does represent the perfect mix of high luxury and contemporary fashion district where we as a brand fit in perfectly. JB: Stylein is known for its understated elegance and architectural silhouettes. How have you translated the essence of the brand into the design and atmosphere of the new store? EA: We have been using the same words for inspiration as we do when creating a new collection, and always staying true to our DNA such as warm Scandinavian minimalism. I got obsessed with the word cocoon and wanted it to feel as if you were entering the inner heart of our brand when visiting the store. Therefore, the architects – Thibaut Allgayer Design Office and Tomai Studio by Tomai Nordgren – interpreted that with the round shapes of the store and a warm, welcoming energy. For me, that represents us as people and as a brand, to stay inclusive in all aspects. JB: Can you tell us a bit about the creative process behind the interior? Were there any specific moods, destinations, or artistic references that inspired the space? EA: For us as a brand, it’s always important to present something that’s timeless yet still intriguing and with a modern twist to it, the same applies to the aesthetic of the boutique. I’m so pleased with the result: a space that reflects our collections through organic, sculptural shapes and carefully considered design elements. The boutique was brought to life by the creative vision of Thibaut and Tomai, a duo known for their high-profile store concepts in Seoul, Dubai, London, and now Stockholm. They truly captured that Aha! Feeling from the very first step inside the boutique. JB: When someone steps into your store, what do you want them to feel, not just about the clothes, but about the world of Stylein? EA: That they want to stay and be a part of our universe. It’s not only a store; it’s a destination where we showcase the truest expression of our brand’s essence. The designs really do sell themselves within this interior, and that’s a great satisfaction. JB: Looking back, how would you describe the evolution of Stylein, from where you started to where you are today? EA: Oh, wow! It’s been such a long journey. I started the brand when I was 20 years old and let me tell you that’s a long time ago… The brand obviously exuded a younger and more urban vibe to it, and I feel so warm in my heart thinking of that now, 24 years later. Today we are very confident in our brand and know well about our muse, who she is and love the fact that she’s an international woman who loves to invest in high quality and perfect fit of her designs. JB: In what ways do you think Swedish culture and the Nordic way of life have helped shape the Stylein aesthetic? EA: That’s always a tricky one since it’s hard to say these things about yourself and not having a perspective but I’m sure my heritage of Scandinavian life and couture affect my designs in many ways. We are brought up with a very sustainable way of thinking and with a lot of respect for our mother nature. JB: How do you and your team approach the design journey each season? What sparks that first idea? EA: I start every collection by creating a mood board and a world for our muse. It could be a city she’s traveling to or a state of mind she has for a specific occasion. Then I present this to my partner in the company, Ulrika Fohgelberg Nordén (Partner & Sales Manager), and we sort of dive into the world of our muse together. We ask ourselves what kind of drink she’s having, how she would style herself with jewelry, and what perfume she loves at the moment. Our muse doesn’t like to shop. She’s all about less is more and hates to pack. So, our job is to create the perfect looks for her to combine both day and night. JB: You and Ulrika play integral roles in Stylein’s growth, creatively and strategically. How do you complement each other when navigating big moments like a new store opening? EA: We complement ourselves in so many ways. I see our partnership as a blessing bigger than pretty much everything in my journey with Stylein. Ulrika has a rare and distinct taste and always stays curious but not flaky. That combination is crucial to build a brand. She also calms me down when things are tough and helps me with perspective on most things in life. She usually says that there’s no one as competitive and with a fighting spirit as me and I guess that’s true, so I do need someone from time to time to tell me to take a deep breather

MAGDA BUTRYM Unveils FW25 Runway Collection in Paris text Jahwanna Berglund photography Jonas Gustavssonfashion Jacob Kmovement direction Pat Boguslawski Magda Butrym debuts Magdalena, her first-ever runway collection, at Paris Fashion Week, marking a deeply personal milestone in her career. Named after her full given name, Magdalena is an intimate self-portrait, blending Slavic heritage with contemporary craftsmanship. For Fall-Winter 2025, Butrym draws inspiration from Polish weaving traditions, poetry, and raw self-expression. The collection reimagines artisanal knitwear with sculptural silhouettes, from a striking red mini dress to an ethereal crochet-veiled wedding gown. Traditional elements, like floral headscarves and folk-inspired tailoring, intertwine with modern practicality, seen in draped shearling coats and luxe tracksuits. Set against a backdrop of handcrafted woven installations, the show captures Butrym’s vision of empowered femininity—delicate yet strong, instinctive yet refined. With Magdalena, she embarks on a bold new creative chapter, embracing emotion and artistry while staying true to her signature aesthetic.

Is it Nepotism or Working Amongst Friends? Sanna Fried and Anna Mikaela Ekstrand text Xuezhu Jenny Wang photography Joanna Kellycreative direction Anna Mikaela Ekstrandfashion Sanna Fried Nepotism in the fashion industry has long been under scrutiny, from the New York Times roundup titled “Nepo Babies Crowd the Runways” to Kendall Jenner’s 2018 Love magazine interview, in which she infamously said, “I was never one of those girls who would do like 30 shows a season.” In the art world, however, it’s a grayer area. On January 24th, The Art Newspaper reported on “concerns over nepotism row” at the National Portrait Gallery, noting that a photographer exhibiting works at the London gallery had previously made substantial donations to the institution. Responses to the headline vary, yet the majority of Instagram users who commented on this post expressed familiarity with the prevalence of said phenomenon, many arguing that the whole art industry is practically built on friend networks. For a field known for a history of salons, high-society patrons, and tight-knit movements, there is a fine line between connection and favoritism. Writer and curator Anna Mikaela Ekstrand says that more often than not, the everyday artist or curator adopts some form of “nepotism” not necessarily out of monetary motivations but rather as a result of intellectual exchange or skill-sharing. Ekstrand recalls, “Collaboration has always been central to my work. When I started calling myself a curator, there was a huge boom in curatorial programs worldwide, but not enough work to go around.” This collaborative thinking stemmed from her early experience at the BMW Guggenheim Lab—an urban planning think tank bringing in more than 100 minds—as well as her familiarity with performance artist Ayana Evans’s practice, who would invite colleagues to co-perform at institutional commissions so that everyone can get paid and build their resume. Later, Ekstrand started the online publication Cultbytes to involve and credit as many people as possible. In a similar vein, she has also co-authored Curating Beyond the Mainstream (Sternberg Press) where she examined the collaborative architectural research group BiG (Bo i Gemenskap, or “Live in Community”), and built communities through The Immigrant Artist Biennial. Artist Sanna Fried shares a similar ethos: “When you collaborate with someone, it’s about merging different fields and relying on each other’s expertise. You cannot trust someone unless you know they are good at what they do.” A friend and collaborator of Ekstrand’s, Fried spent most of her working years in fashion before transitioning to pursue visual arts professionally four years ago. Now, her canvas-based works explore self-representation, narcissism, and the public persona through painterly reenactments of thirst traps, mirror selfies, and exposed bodies. Still, she continues to bridge the two distinct worlds of fashion and art through styling projects, magazine editorials, and more broadly, exploring how expression is manifested through the auto-image—tangible and digital alike. The transition, however, was not without a learning curve. Xuezhu Jenny Wang: Is this overlap between fashion and art new? Both of you have been working on projects that bridge the two fields—what are some differences you have so far observed? Anna Mikaela Ekstrand: It’s quite new to me. We live in a world where hierarchies and boundaries are constantly blurred. But at the end of the day, these are two different industries—fashion caters to a broader market. So far, I’ve done about five fashion editorials to bring artists a more “mainstream” clout. In an exhibition, my job of a curator is to give artwork primacy and create a dialogue among the artworks. In an editorial setting, I involve stylists, hair and makeup artists, photographers, and creative directors—asking them, “How do you interpret this artist? How does their work inspire you?” Sanna Fried: It feels liberating to move towards the art scene from the fashion world. My art is highly inspired by my years in fashion, and I like to return to my roots. But painting is something that gives me the ultimate satisfaction. While my work in both fields is about the same kind of desire to express things, working in fashion was a lot about the commercial and making money. Translating these images into paintings makes me feel like I can focus on the messages better. XJW: What does your friendship mean for your respective careers? AME: We have a constant conversation on WhatsApp, talking about her career and my new editorial projects. Recently, Sanna has been so incredible in helping me figure out the different ways of communicating in fashion. For instance, the mood board is so important to fashion editorials, and Sanna explained the concept to me. SF: And likewise, at first, I didn’t know what an artist statement was. Anna Mikaela had to explain it to me. XJW: Do you communicate with each other differently as collaborators versus as friends? Are there disagreements from time to time? SF: I actually think we communicate in a softer way when working together. Privately, we can be pretty direct to each other. Of course, in creative projects, there are more people than just the two of us involved. A lot of the work is about coordinating who’s whose contact; you reach out to this person, and I reach out to that person. AME: We both trust and respect each other. Even when there are things I don’t agree with, I trust her taste—Sanna has an incredible eye—understand that her ideas are good, choose my battles, and move on. Team work makes the dream work; hence our photoshoot, not only playing together but also being prepared to clean each other’s messes, quite literally. SF: And between the two of us, we have very different skillsets. Anna Mikaela is like a human ChatGPT. She writes better than AI. I’m never going to interfere with what she writes, and likewise, she won’t interfere with what I paint. XJW: Speaking of your paintings, Sanna, could you share more about your exhibition at Engelbrekt Cathedral in Stockholm? SF: The show in Sweden is actually a continuation of the paintings I did two years

Balenciaga Winter 25: Reinventing Standards with Performance and Couture Balenciaga’s Winter 25 collection redefines standards, merging motorsports, sportswear, and tailoring into an avant-garde vision. With collaborations spanning Alpinestars and PUMA, the House pushes the limits of performance wear and high fashion. Set against a maze-like backdrop designed to blur expectations, the collection explores archetypal dress codes, deconstructing conventions. Businesswear takes unexpected twists, with classic two-piece suits appearing in hand-wrinkled navy, moth-eaten pinstripe, and maxi-skirt pairings. Daywear silhouettes feature exaggerated coats, sculptural trenches, and cashmere outerwear adorned with broken buttons and integrated scarves. Hooded nylon puffers and Victorian-inspired leather jackets embrace anatomical precision, balancing couture roots with urban ease. Balenciaga’s material innovation is evident in resin-treated, permanently wrinkled denim and crushed Dyneema® bags. Accessories take a conceptual turn with faceless Geneva watch bracelets, unset Frame rings, and modular Venice Beach Mask eyewear. Balenciaga and Alpinestars expand their motorsports collaboration, introducing a co-branded SuperTech R10 Helmet in black high-density carbon fiber with modular features. Signature gloves, including the SMX-2 Air Carbon V2 and Morph Gloves, are reworked with piercings, spikes, and distress treatments, fusing protection with avant-garde aesthetics. images courtesy of Balenciaga The Balenciaga | PUMA debut merges PUMA’s sportswear heritage with Balenciaga’s disruptive design. The reimagined Speedcat Sneaker softens into a pliable, sock-like structure with worn-out suede and a cut-off Formstrip. Apparel fuses nostalgia with modernity, featuring extra-dry molleton sweatsuits with Balenciaga’s lion crest, archival-inspired tracksuits, and a shearling “tracksuit” jacket. Accessories include a crushed Dyneema® shopper bag, caps, and liner gloves. Balenciaga’s Winter 25 collection transforms standard wardrobe staples, merging couture with outerwear and technical expertise with fashion-forward design. These collaborations reinforce the dialogue between performance and luxury, proving fashion is about innovation, adaptability, and breaking the mold. Demna challenges not just what we wear but how fashion shapes culture and technology, making this collection a declaration of power, precision, and reinvention.

Inside the SS25 Collection: The People, Passion, and Process Behind Dr. Martens’ Next Chapter text Sandra Myhrberg Dr. Martens has always been more than just footwear. It’s a symbol of individuality, rebellion, and self-expression. The SS25 collection marks an exciting evolution, driven by the talented individuals shaping the brand’s designs and storytelling. At the core of SS25 is The Buzz, a bold ‘90s-inspired silhouette reimagined for today’s wearers, alongside Genix Nappa, a sustainable material crafted from reclaimed leather offcuts. This season is all about fusing past and future while pushing boundaries in both design and sustainability. The Buzz shoe and campaign mark an exciting evolution for the brand, driven by the talented individuals behind Dr. Martens’ designs and storytelling. This season shines a light on the incredible team behind the scenes at Dr. Martens—the designers, product experts, and marketeers whose creativity brings each collection and campaign to life. Balancing heritage with innovation is at the heart of the brand’s approach. The design teams constantly reference Dr. Martens’ 64-year archive to maintain the integrity of its brand DNA – whether it’s through iconic silhouettes, distinctive design details, or standout campaigns over the years. At the same time, this new generation of talent brings fresh ideas, materials and design approaches that push the brand forward. It’s this fusion of past and future that keeps Dr. Martens evolving while remaining unmistakably Doc’s. In this exclusive interview, Becki Evans, Jack Connors, and Bridie Husband share how Dr. Martens stays true to its rebellious roots while continuing to evolve. What has been the biggest challenge in launching the SS25 collections, and how did the team overcome it?Becki Evans (Global Brand Manager): Dr. Martens has a rich heritage, making it both exciting and challenging to decide which elements of our DNA and legacy to retain whilst ensuring a launch resonates with a new generation of wearers. At our core, we defy norms and celebrate individuality. This philosophy shapes our decision-making process. The Buzz collection embodies that spirit. Infused with confidence and the warmth of friendship, the campaign is bold, bright, and unapologetically Dr. Martens. Our regional teams have brought it to life through local partnerships and activations, helping new audiences to feel the buzz. Sustainability is becoming increasingly important in fashion. How does the SS25 collection, particularly the Genix Nappa line, reflect Dr. Martens commitment to sustainability?Jack Connors (Sustainability Project Manager): Dr. Martens long-term sustainability ambition is to become a net-zero business by 2040, and a key step towards this goal is integrating more *sustainable materials across all our product ranges. The Genix Nappa line embodies this commitment by reclaiming leather offcuts that would otherwise go to landfill and re-engineering them into a soft, lightweight, and durable material. Since its launch in Spring 2024, the range has been a huge success, and we’re excited to push its potential even further with new print and embroidery designs available next month. Beyond Genix Nappa, we’re continuously evolving our material mix, increasing the number of sustainable options across all product categories to drive long-term change. *At DM’s, a sustainable material is one that is durable, made from recycled, renewable, or regenerative sources, and produced responsibly. How does Dr. Martens ensure its products remain relevant to both loyal customers and new generations of wearers?Bridie Husband (Footwear Designer): At Dr. Martens we rely on our rich archive to influence what’s next for us, with nearly 65 years of heritage, we have a deep pool of inspiration to explore. Our design ethos is to stay true to our DNA whilst appealing to a new generation of wearers by experimenting with new materials, colours and collaboration partners. The Buzz shoe draws inspiration from the ‘90s archive. What aspects of that era influenced its design the most? Everything about the Buzz shoe is inspired by the ‘90s – from the chunky, rounded proportions to the leopard prints and pink hues. The Buzz has a sporty, vintage aesthetic that our wearers haven’t seen from us in recent seasons. There’s a sense of physical elevation and confidence that comes with a big platform sole: it takes up space and demands attention. Bridie, you led the design for Buzz and championed the return of an archive sole. What drew you to this specific element, and how did you modernize it?Bridie: Bringing a classic back in a new way feels extra special. Our team always references the archive to make sure new styles align with our heritage. This type of style had been sought after by true brand fans for years – you can see the love for it by the traction it gets on resale sites and the customer interactions on our own platforms. When I pitched the idea to bring iback in my interview at DM’s, the idea snowballed, and the newly imagined Buzz is now the key mainline style for this season and beyond. The new Buzz silhouette has a classic DM’s identity but brings something bold and playful to a potential new wearer.The Buzz platform sits between a sneaker and a shoe. What kind of consumer do you envision embracing this new hybrid style?Bridie: The Buzz is the perfect choice for anyone who typically reaches for sneakers but wants to elevate their look whilst keeping things effortless. It’s designed for those who love to stand out yet appreciate timeless, investment-worthy pieces. With its unique shape, elevated height and versatile neutral tones of black, brown, and leopard, the Buzz seamlessly fits into any wardrobe, making it easy to dress up or down. What do you hope consumers will take away from the SS25 collections?Bridie: With our SS25 collections, we hope to inspire a sense of playfulness and optimism. We’ve dialled up the joy and introduced fresh silhouettes and bold design details that bring new energy to our offering. We can’t wait for our wearers to make them their own. images courtesy of Dr. Martens

Entangled Rebirth: Elin Olsson on Embracing Imperfection and Redefining Fashion text Matilde Aarskog Wold Elin Olsson, a young designer from Beckmans College of Design, introduces her latest collection, Trasslig Återfödelse (Entangled Rebirth), where fragility meets resilience. Her designs, a blend of delicate threads and voluminous silhouettes, challenge conventional fashion norms by embracing imperfections as a source of strength. In this interview, we dive into her creative process, inspirations, and the artistry behind the collection we’ve styled and captured for this feature. Olsson’s work invites us to see fashion as both a craft and a reflection of life’s beautiful complexities. Matilde Aarskog Wold: “When and how did your interest in fashion and design first emerge?” EO: I actually called my mother and asked. She said that as early as the age of two, I showed an interest in clothes and accessories by always being drawn to “bling bling” and trying on high heels that were way too big for me. My interest in sewing probably started around the age of 14 if I remember correctly. I bought second-hand clothes, cut them up, and then re-sewed them using my grandmother’s old Singer machine from the 1950s-60s. It wasn’t until high school that I truly realized fashion and design were what I wanted to pursue. I even asked my incredibly fashion-uninterested mother, “What is the profession called when you work in the fashion world?” After that, we traveled to Stockholm to attend open houses at various design schools, and that’s when I decided that one day, I would study at Beckmans. But it took me ten years before I actually started studying there. Like many others at the time, I wanted to explore the world first, and I also spent three years in preparatory studies before starting. MAW: Your latest collection, “Trasslig Återfödelse,” has such an evocative title. Can you tell us about the inspiration behind the collection and walk us through your process of developing it? EO: It actually started with thoughts about my mother—how she always saves the smallest things that others might throw away. She’s the type who keeps used wrapping paper and a pretty ribbon, for example. My mother sees value in small things, and as I’ve grown older, I’ve also come to appreciate that. I think I’ve inherited a certain tendency to collect—or as I prefer to call it, save! The phrase “it might come in handy” is something I’ve heard thousands of times growing up, and I’ve also adopted that mindset, in a well-organized chaos. In short, the inspiration for this collection came from my parents’ lifestyle. The process started with material experimentation, which was the focus of the entire course. I knew early on that I wanted to work with upcycling to breathe new life into everything I had collected over the years. I was particularly interested in denim and knitwear. I conducted numerous denim experiments and ultimately found the concept of “layer upon layer upon layer” intriguing. Regarding the knitwear pieces, I wanted to symbolize how human life has its ups and downs, just like the materials I’ve saved over the years. This time, those materials had their moment to shine. I wanted the finish to look “worn-in,” which is why the garments have subtly patinated color variations, as well as frayed denim pants and the upcycled lace top. MAW: The visuals from this collection feel deeply personal. How much of your own experiences and emotions influence your work? EO: “Trasslig Återfödelse” is deeply personal. In the material course, there was no strict framework for the concept, which allowed me to make it very personal. clothes Elin Olsson/Beckmans College of Designshoes Lundhags Later, there are courses with more structured briefs, or courses like “Collab,” where we collaborate with a company and need to step back from our own egos. It’s a very valuable and fun experience! But for my graduation project, I will make it personal again, to showcase who I am as a designer. MAW: You blend delicate, intricate elements with bold, voluminous shapes in your work. How do you approach balancing these contrasts, and what do they represent to you? clothes Elin Olsson/Beckmans College of Designshoes Kero EO: I think, like many others, I’ve trained my eye to see the bigger picture. I believe this happens unconsciously if you’re truly interested in design. The voluminous silhouettes come from my fascination with form. I find it intriguing when textiles extend beyond the body and take on a life of their own. My interest in textures comes from my desire to engage another sense in clothing—there’s so much that can be expressed through texture. MAW: Sustainability is such a big conversation in fashion right now. How does “Trasslig Återfödelse” tie into ideas of circular design or eco-consciousness? EO: The entire collection is about circular design and making use of what already exists. My chaotic but fairly well-organized collecting has resulted in this collection. Everything in the collection, except for the knitwear, consists of recycled materials. MAW: The fashion industry is rapidly evolving with new technologies and values. How do you see young designers like yourself reshaping the future of fashion? EO: I see it as an incredible opportunity but also a responsibility. I believe in us new designers, in our commitment to sustainability—both environmental and social. The industry has already been breaking traditional norms for a while, creating more inclusive expressions, and above all, advocating for sustainability. I strongly believe that we, as new designers, must continue working towards this. 3D design, AI, and digital platforms allow us to reduce waste and reach a global audience, even as small-scale designers. At the same time, I think it’s important not to focus on innovation for the sake of innovation but to uphold the values we want to see in the industry: respect for people, animals, and the environment. I believe the future requires a deeper impact than just following trends. I truly hope and believe that new designers are in a unique position to drive this change forward by

Charles & Keith: The Must Have Brand on Every Gen Z Student’s Radar text Maya Avram photography Darrel Hunterimages courtesy of Charles & Keith London Fashion Week is right around the corner, with events and presentations kicking off the Autumn/Winter season at the capital later this week. And while the Swinging City may not have the big-money splendour of New York or the century-old aesthetic of Paris and Milan, London’s vibrant energy is unmatched compared to the rest of the big four. Its brimming experimental nature is a creative haven for emerging talent like Nensi Dojaka, Simone Rocha, JW Anderson and Erdem, all of whom have grown to become global phenomena in recent years. The same fervour is extended to storied English houses too, like Burberry and Vivienne Westwood, rendering London’s fashion industry a pioneer of subversion and boundary-breaking design. This is why Central Saint Martins — the famed London fashion school whose impressive list of alumni includes the late Alexander McQueen, Phoebe Philo and Christopher Kane, among others — has a permanent slot on the Fashion Week schedule, as it’s generally agreed that its graduates are primed for greatness. This is why leather expert Charles & Keith has teamed up with a select group of CSM styling students for its latest campaign. Shot by celebrated photographer Darrel Hunter, the shoot benefits from his affluent lens as well as the students’ fresh attitudes, resulting in unrestrained creative expression that is so quintessentially Charles & Keith. Proving, once again, that no one does it like Londoners. photography Darrel Hunterimages courtesy of Charles & Keith