Fashion Articles

HEIGS: The Art of Understated Luxury text Natalia Muntean HEIGS was founded by Johanna van der Drift, with Daan van Luijn joining soon after as co-founder. Together, they bring a shared vision: to create timeless pieces with real meaning and purpose. Rooted in Swiss precision and shaped by a deep reverence for craftsmanship, their bags speak in subtleties, unbranded, intimate, and designed to grow with time. In this conversation, the duo reflects on heritage, restraint, and redefining what true luxury can be. Ulrika Lindqvist: How long have you been working in accessory design, and what originally inspired you to pursue this career? Johanna van der Drift : I’ve always been a designer at heart — whether it was hotel interiors, custom tableware, or television production. The idea for a bag came to me on a drive between Switzerland and France — a very specific stretch of road. I was chasing a form I hadn’t yet seen: something elegant, unbranded, deeply personal. Not long after, I met Eloise in Paris, a master leather artisan trained at Hermès and Louis Vuitton. Our connection was instant, and HEIGS started to take shape. It was less a career switch, more a continuation of everything I’d been building toward. UL: What motivated you to start HEIGS? JvdD: We wanted to create something lasting — a counterpoint to the speed and spectacle of fashion today. HEIGS is our answer to what we felt was missing: true luxury that doesn’t rely on noise, but on quality, intimacy, and care. Every part of HEIGS — from the untreated leather to the storytelling linings — is designed to grow with you. We believed there was a customer who wanted more meaning, less branding. And we were right. UL: Can you share the story behind the name “HEIGS”? JvdD: HEIGS stands for Heidi Goes Safari — a playful reimagining of the classic character Heidi. To us, Heidi isn’t a girl in the Alps. They’re a non-binary adventurer, rooted in nature but always exploring. It reflects our own story: I’m Swiss, Daan is Dutch; we live between cities and mountains, tradition and experimentation. HEIGS is about grounding and movement — heritage with curiosity. UL: In your opinion, what are the most important features a bag should have? Daan van Luijn: Quality. That might sound obvious, but it’s not always a given. A lot of luxury pricing doesn’t reflect the labor or craft behind the piece. Ours does. Each HEIGS bag takes two full weeks to make — by a single artisan. Over 150 steps, most of them by hand. That’s where the value sits. Not in trends. Not in logos. But in the time, care, and technique it takes to make something that actually lasts. UL: Switzerland has long been known for its quality leather goods. Was entering this market intimidating? JvdD: It wasn’t intimidating — it felt like home. I lived in Switzerland for over 20 years, and that culture of clarity, discipline, and craftsmanship is in my bones.Entering that space wasn’t about competing, it was about contributing something thoughtful to it — something rooted in the same values but expressed in a newway. UL: How do you decide which materials to work with for your collections? JvdD: I work from emotion. I search brocantes and flea markets across France and Switzerland, always looking for materials that carry story. We’ve used antique textiles, linings from ballet shoe ateliers in Paris, even pine and wildflowers. UL: Do you have a favorite piece from your collection? What makes it special to you? DvL: Probably the Beurre bag. It’s logo-free, white, undyed, uncoated. There’s something radical about how understated it is. No branding, just form. It represents the next chapter for us: going even deeper into restraint and refinement. UL: What would you say are the three core values that define HEIGS? JvdD & DvL:  Craftsmanship, Meaning over marketing, Intimacy over spectacle How would you describe the typical Heigs customer? JvdD & DvL: They notice quality, texture, stitching and the way a bag ages. They value quiet confidence. Many of them work in creative fields or care about design, but they’re not trying to show off. UL: If you could design for anyone, who would be your dream client? DvL: Lily-Rose Depp. There’s something so je ne sais quoi about her—a kind of effortless cool that feels inherited, maybe from her mother, Vanessa Paradis, who I’d also love to design for. They both have this rare, confident elegance.” JvdD: Carolyn Bessette-Kennedy. I’ve always pictured her with the bag in her hand—even from the very beginning, four years ago. To me, she’s the ultimate inunderstated sophistication: original, elegant, and timeless. UL: Could you share a memorable moment from your journey with HEIGS so far? DvL: For me, it was definitely the shoot in the Swiss Alps. That experience felt really foundational. The way the whole team came together—there was this shared energy, this collective vision—and what we created there felt so inherently ‘Heigs’. It was one of those moments where everything just clicked. JvdD: I almost want to say the same, but for me, that place in the Alps is more than just a backdrop—it’s my homeland. That’s where my journey truly began. Sorather than a moment, it feels like an era. But if I had to choose one moment, it would be the day I held the first ‘En Suisse’ bag in my hands, after a year of working closely on the master with my leather maker. I’ll never forget it. It was exactly as it was meant to be. UL: What are your plans and vision for the future of Heigs? DvL: We’re not scaling in the traditional sense, but instead are working on smaller collaborations with brands and artists like Brigitte Tanaka and BillyNou, we’re focusing on pop-ups in Paris and will perhaps add a product category into the mix at some point. Right now our mission is to familiarise the world with our ethos and core collection.

An interview with Gestuz on their SS26 collection Written by Ulrika Lindqvist Gestuz SS26 arrives like a shift in motion, balancing edge and elegance, stillness and speed. The collection draws bold inspiration from vintage motorsport aesthetics, weaving utilitarian leather, sharp tailoring, and fluid draping into a wardrobe of contrasts. From 70s Formula One glamour to modern silhouettes built for movement, creative director Sanne Sehested delivers a powerful vision of womanhood that refuses to be singular. In this conversation with Odalisque, she shares the creative process behind the collection, how archival inspiration met future ambition, and why the return of Gestuz footwear marks an exciting new chapter. Ulrika Lindqvist: Please tell us about the process in creating the ss26 runway show? Sanne Sehested: It started already in the beginning of 2025 with designing the collection. And from then on, everything revolves around the combination of the collection and the show concept. I am fortunate that we create the show concept in-house meaning that we already talk collection and concept in one go. This gives us the possibility to make sure everything we do for the collection is thought into the show and vice versa. From then on it is months of working on location, guest management, press meetings, model casting, hair and makeup look, fittings and much more until we stand with a room full of guests and the music starts.  UL: How did you choose the location for the runway show? SS: It was the perfect coincidence. We had our eyes set on another venue at first which then fell through. And then we ended up finding the perfect spot here at Paper Island. UL: What does the SS26 collection represent and what was the main inspiration for his collection? SS: The Spring Summer 2026 show explores tension and duality, movement and pause. I wanted to explore the contrasts of femininity and masculinity, stillness and movement, occasion wear and workwear. Referencing the world of motorsport became our language for the qualities often deemed favorable in society – the rougher, fast moving, harder competencies. The full force. And there is a space for that. I love that. I love the sharp suits and heavy denim. The edgy leather. But I also wanted to show the softer, slower, flowing qualities. Those that might be undermined or left behind, but creates a much more interesting journey when combined. It’s about flowing between masculine and feminine without having to consider what society deems “strong”. That you can be a powerful businesswoman while wearing a draped dress, or a soft caring mother while wearing a leather suit with giant shoulder pads. Feminine and sensual – masculine and grounded, changing between the two like shifting gears. Imagery from the 70s and 80s era of Formula One and Le Mans filled our mood boards. Especially pictures of Marie-Claude Charmasson who was a French journalist and race car driver. She is ultra glamorous with this bright blond hair, and in many of the pictures of her, she is wearing a white boiler suit, and her baby blue helmet. She is also often seen with some vivid red elements, and that color combination really inspired us. There is something quite glamourous and interesting about images from vintage racing. The colours, the shape of the cars; there was just something that drew my attention. There were sporty and utilitarian elements in the clothes worn that I find quite captivating when adopted into a modern setting. UL: What was the biggest challenge creating your ss26 collection? SS: Spring summer has always been more challenging for me to create than autumn winter, because I am so inspired by layers and heavier materials. I feel like we are very strong in our autumn winter collection as they are full of denim, layers, knit and leather which is at the heart of Gestuz. Perfecting that in a spring/summer collection without it being too feminine and maintaining the edge, is a challenge. I feel like we have succeeded with the SS26 collection and I am very proud of it. UL: How would you describe the Gestuz customer? SS: She is not one thing, or one size, or one age. She is full of contrast and wants her wardrobe to express that. The GESTUZ team is made up of almost all women, and every day I see the many aspects and ways of womanhood. Powerful businesswomen that can still wear draped dresses, and soft caring mothers wearing leather suits with giant shoulder pads. Feminine and sensual – masculine and grounded, changing between the two like shifting gears. UL: What can we expect from Gestuz in the future? SS: It is actually really exciting for us as we this season are relaunching footwear after not having designed shoes for almost five years. So for the SS26 collection we are paying tribute to some of our old designs in a new way, and it has been really fun to dive into our own archives and visit some old favorites. Our boots were quite a big part of the GESTUZ spirit, and we are relaunching our classic two colored boots in a new fit. As we always did, the focus is on wearability, and that is reflected in the heel height for example. We are bike-riding Scandinavians at the core after all.

“Human Touch is Essential, Not Just in Leadership but in Life” – Azra Osmancevic Natalia Muntean photography Martin Kiessling fashion Azra Osmancevic dress Zamina Scillasdotte Her journey took her from Bosnia to Sweden, across the Atlantic Ocean to New York and then back to Sweden. Azra Osmancevic is a woman of many layers, heavily shaped by metamorphoses between cultures, cities and identities. “I think my journey has been a tapestry of contrasts, with each place adding a unique thread to my identity. It also deepened my belief that culture isn’t just inherited – it’s created and shared through the stories we tell and the connections we build. These transitions have been crucial for me culturally and identity-wise,” says Azra. Azra’s multifaceted career reflects her belief in the power of reinvention and the importance of staying open to opportunities. “I don’t set rigid goals,” she says. “For me, success is a feeling – making a positive impact, staying true to my values, and waking up proud of what I’m building.” Whether through mentorship programs like Femtorship, her work in AI and media, or her passion for fashion and design, Azra’s life is a testament to the strength of resilience, community, and the human touch. Natalia Muntean: You were named Female Leader of the Future in 2023 and mentioned that all leadership starts with strong self-leadership. Can you elaborate on that?Azra Osmancevic: Leadership isn’t about titles or hierarchies, it’s about accountability, purpose, and integrity. For me, it starts with strong self-leadership: knowing who you are, and what you stand for, and using that to navigate life’s challenges. It’s about facing challenges with grace, resilience, and decency. It requires self-awareness, emotional intelligence, and the courage to take responsibility for your choices. Only when we lead ourselves effectively can we inspire and empower others to do the same. NM: What advice would you give to someone stepping into a managerial or leadership role for the first time?AO: I’d say it’s crucial not to lose your human touch. From my experience, it’s easy to lose that connection. You face so many difficult challenges, like redundancies. The first time is hard, but by the tenth time, it’s easy to become less emotionally involved in those decisions. But the best leaders I’ve seen never lose their human touch. They always see the people behind the numbers. So my advice is: be yourself, but never lose that human connection. Human touch is essential, not just in leadership but in life. NM: Speaking of guidance, can you tell me a bit about Femtorship?AO: Femtorship is a one-year mentorship program where we pair mentees with mentors. It’s designed for women aged 18 to 23. I started the program during my first maternity leave in 2019. It’s based in Sweden, though I dream of expanding it globally. However, it takes a lot of time and effort to ensure the program maintains quality. It can’t just be something superficial where a year passes and nothing happens. We have something called Femtalks, where we share interviews with various women with all the participants, like a monthly magazine. We also have FemWorks, which are seminars with companies around Sweden where mentors and mentees do activities together.The program was born out of my desire to create a space where young women can see their potential reflected at them. It’s a place where they can build strong self-esteem by challenging their self-awareness, which is the foundation of strong self-leadership. As someone who’s navigated both challenges and opportunities, I wanted to bridge the gap for others, especially those who might feel overlooked. That’s what Femtorship is all about. NM: That’s a really good initiative. Has there been a particularly memorable moment? And how long have you been running it?AO: There have been many memorable moments since I launched the program in 2019. The most memorable moments are when mentees show how their confidence has grown or achieve something they didn’t think was possible. One mentee told me she landed her dream role because of the belief and guidance she found through the program. That kind of impact is what fuels me. NM: What words of encouragement would you give to a young woman trying to create her path, especially someone from an immigrant background?AO: I would say your unique story is your strength. Don’t let anyone diminish the value of your perspective and experiences. Challenges are opportunities in disguise, each one can teach you something about yourself or others. It’s important to find your tribe, not just in Sweden but in life generally. It doesn’t have to be big, mine isn’t, but it’s about finding people who uplift and inspire you. Stay curious, be bold, and dream bigger than what seems possible. Success, for me, isn’t about fitting in, it’s about standing out for all the right reasons. NM: Now, if we switch a bit to your interest in fashion, has that been a passion since childhood, or how did it develop? I know you also created your dress for the Elle Gala.AO: Fashion and interior design are powerful ways to communicate without words. My mother is a singer and a seamstress, so creativity and craftsmanship have always been part of my life. The Elle Gala dress is one product of our mother-daughter love. I drew the vision, we sourced the fabric together here in Stockholm, and my mother sewed it. It was such a wonderful moment to share that dress with the world, knowing my mother made it for me. Creating the Elle Gala dress wasn’t about style, it was about showing how beauty can be deeply personal and celebrating craftsmanship. NM: Do you have a piece in your wardrobe that you care for more than others?AO: Yes, but it’s not something I created; it’s something I inherited. It’s a silk shirt in a radiant yellow, like sun rays, from my grandmother. It’s my favourite piece. It’s always stylish, goes with almost anything, and holds so much meaning for me. NM: When you’re getting dressed, how do you manage to express yourself?AO: I don’t have a particular style. I think my style is mashing up styles. Nothing is

An interview with Baum und Pferdgarten on their SS26 collection text by Ulrika Lindqvist  For over two decades, Baum und Pferdgarten’s Rikke Baumgarten and Helle Hestehave have mastered the art of balancing playfulness with precision. With their SS26 collection, the Danish design duo returns to their roots, not just in aesthetic, but in spirit. Inspired by the world of horse racing and presented in one of Scandinavia’s oldest stables, the runway show becomes a powerful tribute to authenticity, movement, and modern femininity. In conversation with Odalisque, Rikke and Helle share the story behind the collection, the challenge of staying true to their creative DNA, and what it means to dress the working woman with confidence and ease. Ulrika Lindqvist: Please tell us about the process in creating the ss26 runway show?  Rikke Baumgarten and Helle Hestehave: The process of creating our runway show began with a long-standing desire to explore a theme centered around horses. That idea truly took shape during a walk through the old stables just north of Copenhagen – where we would eventually hold the show. The atmosphere was instantly inspiring. Surrounded by worn leather, weathered wood, and the quiet history of the space, we knew we wanted to build a collection around the world of horse racing. UL: How did you chose the location for the runway show? RB & HH: We actually chose the location hand in hand with the theme. It felt natural to host the show at the stables that’s still active and one of the oldest in Scandinavia. Talking to the people working there with their passion projects around horseracing and seeing how welcoming they were to our idea we knew this was the right place.  UL: What does the SS26 collection represent and what was the main inspiration for this collection? RB & HH: This season, our focus shifted in a deliberate way. Instead of leaning into trends, we made a conscious effort to visually express the core values of our brand. Sporty influences, bold prints, and functional outerwear have always been fundamental to our identity, and this collection stays true to that. We also continued our love for working with a wide and expressive color palette – ensuring that everyone who wears our pieces feels like the most confident, authentic version of themselves. UL: What was the biggest challenge creating your ss26 collection? RB & HH: It always a challenge reinventing yourself and still staying true to your brand. You can easily feel theneed to follow trends that doesn’t fit your brand identity, but somehow we always manage to find back to our core values.  UL: How would you describe the Baum und Pferdgarten customer? RB & HH: We are extremely grateful to have customers who has been with us since we started back in 1999,but also a customer group who has the need to express themselves through clothes but in an expressive yet elegant way. Our customer is the working woman who doesn’t want to look boring but never overdressed.  UL: What can we expect from Baum und Pferdgarten in the future?  RB & HH: Stay tuned, bright days are ahead.

An interview with TG Botanical on their SS26 collection Written by Ulrika Lindqvist With ruching that mimics the curl of petals and silhouettes sculpted like growing vines, TG Botanical’s SS26 collection is a study in organic form and quiet transformation. Inspired by gardens, soil, and the sensation of life returning, each piece carries the tactile poetry of nature. Founder Tetyana Chumak describes the collection as a ‘garden of awakening’, where sensual textures, earthy tones, and experimental techniques take center stage. In conversation with Odalisque, she reveals how beauty, even in chaos, becomes a kind of resistance. Ulrika Lindqvist: Please tell us about the process in creating the SS26 presentation? Tetyana Chumak: The preparation process this season was especially complex and emotionally charged. Our creative team works from different corners of the world, mostly online, while all production is based in Kyiv, where airstrikes continue. This creates a constant background of anxiety and stress. And yet, we continue to experiment and search for new forms of expression. For example, during the development of this collection, a new signature technique emerged — an elastic thread ruching that creates organic, sculptural textures. It was born in chaos: something that worked perfectly yesterday may fall apart today due to fatigue or emotional strain. Still, we move forward. This is the essence of TG Botanical — growth, even in the face of instability. UL: How did you choose the location for the presentation? TC: At the core of TG Botanical’s identity lies earth, plants, and life. It’s about connection to nature and inner stillness. That’s why, when presenting in Copenhagen during the summer, we always choose open-air, natural surroundings. We want to show clothing among trees, grass, living light, and the breath of the earth. It’s essential to us that everything — the space, the atmosphere — amplifies the meaning of the collection. UL: What does the SS26 collection represent and what was the main inspiration for this collection? TC: SS26 is a garden of awakening. The collection speaks to an inner blooming — the moment when one feels life returning within. In this context, spring is not just a season, but a state of being. We drew inspiration from gardens, plants, berries, soil textures, and the softness of petals. It’s about returning to oneself, to natural sensuality, to a kind of beauty that grows from within. UL: What was the biggest challenge creating your SS26 collection? TC: The biggest challenge was continuing to create while everything around us remained uncertain and filled with anxiety. There were moments when it felt like the show wouldn’t happen at all — I wasn’t in Ukraine at the time and felt helpless, while still carrying full responsibility for the team and creative direction. It’s incredibly hard to make something beautiful when you don’t know what tomorrow brings. But in those very moments, creativity becomes a means of survival — a way to tell the world: we are still here. UL: How would you describe the TG Botanical customer? TC: Our customer seeks depth, aesthetics, and a connection to nature. This is someone who feels. Someone who chooses not just garments, but a state of being. They care about how things are made, from what, and the journey each piece has taken. They are attentive — to detail, to themselves, and to the world around them. UL: What can we expect from TG Botanical in the future? TC: Magic. We believe in the power of beauty, even in the most difficult times. We will continue to explore new shapes, techniques, and materials — always staying true to ourselves, to nature, and to the values we hold dear.

WOOD WOOD AW25: Reimagining Earth, One Thread at a Time Written by  Ulrika Lindqvist For Autumn/Winter 2025, Danish brand WOOD WOOD takes a leap beyond the usual fashion narrative with Sphere,  a collection that draws from the outer limits of imagination, grounded in the ever-evolving relationship between nature, space, and human potential. Referencing the radical 1991 experiment Biosphere 2 and the documentary Spaceship Earth, the collection is steeped in themes of reinvention, resilience, and speculative futures. Equally inspired by the countercultural ethos of the Whole Earth Catalog and the futurist philosophies of Buckminster Fuller, Sphere is a visual and tactile exploration of how we might live, dress, and evolve in a changing world. “We were captivated by the idea of combining a grand, almost utopian vision with a DIY spirit,” says Brian SS Jensen, Creative Director. “It’s a way of thinking about the future while staying rooted in our connection to Earth. Where are we headed, and what does that look like?” WOOD WOOD’s response is a collection that fuses function with freedom. Think utilitarian workwear reimagined with a streetwise sensibility, relaxed yet elevated. The silhouettes lean into contrast: voluminous trousers with unexpected proportions, oversized knits that feel like wearable warmth, and tailored sets that blur the line between formality and comfort. Texture takes centre stage this season. Vintage-inspired twills, soft boucle, tactile corduroy, and worn-down wool coats create depth and sensory richness. “We wanted the garments to feel lived in,” explains Gitte Wetter, Head of Design. “There’s nostalgia here, but also reinvention — we worked with fabrics that hold stories and memories, but gave them a fresh context.” The collection’s palette is elemental and cosmic in equal measure. Earthy hues of burgundy, forest green, ochre, and sand are grounded in warmth, while a washed-out lavender offers an unexpected whisper of the surreal, a nod to the cosmos. AW25 also leans into the romanticism of 70s nostalgia, reinterpreted through a contemporary lens. Cable knits, checkered shirting, and collegiate outerwear evoke a time when idealism and exploration went hand-in-hand. It’s not retro for retro’s sake — it’s a call to rediscover the ethos of that era in how we live now. There’s a quiet confidence woven through Sphere. Each piece feels intentional, for a wearer who values comfort without compromise, style without rigidity, and expression without excess. It’s fashion for the introspective futurist: those looking to dress not just for where they are, but where they want to go.

Step Into Summer: A City Story in Sandals text Zohra Vanlerberghe photography Julia Sixtensson Dr. Martens steps into SS25 with a sandals collection built for movement, through city streets, summer memories, and everyday moments. Drawing from over three decades of archive design, the new range revives key elements like contrast stitching and platform soles rooted in unmistakable DM’s DNA. To explore how these sandals live in real life, we linked up with Stockholm-based artists Naliyah and Zikai, two creatives who know their city’s rhythm by heart. Naliyah takes us to Nytorget and Gamla Stan, two places full of personal meaning, from stillness found near her studio to memories of ferry rides to her family’s summer place. For Zikai, it’s all about the laid-back pull of Reimersholme, Långholmen, and Skinnarviksberget, places layered with nostalgia, community, and the kind of summer energy that lingers.Together, they show us how the right sandals don’t just carry you, they carry the story of where you’ve been, and where you’re going. Sandra Myhrberg: What does a perfect summer day in Stockholm look like for you, and how do your favourite spots reflect that vibe?Naliyah: A perfect summer day in Stockholm? Just good people, good food, and not having to rush anywhere. I love sharing a meal with family or friends somewhere nice, outside if the weather lets us. I don’t need much more than that.Zikai: Waking up at 11 am with no plans, grabbing an overpriced coffee, and meeting some friends by Reimersholme or Långholmen. Then we just stay there for an unreasonably long time. Then repeat. SM: You’ve both chosen locations that are full of character. What makes these places meaningful or inspiring to you personally?N: London taught me how to stretch time and find stillness in movement. Nytorget reminds me of that. It holds the same frequency. It’s not just where the studio is, it’s where my thoughts settle. Gamla Stan takes me back to childhood. I Written by Sandra Myhrberg Dr. Martens steps into SS25 with a sandals collection built for movement, through city streets, summer memories, and everyday moments. Drawing from over three decades of archive design, the new range revives key elements like contrast stitching and platform soles rooted in unmistakable DM’s DNA. To explore how these sandals live in real life, we linked up with Stockholm-based artists Naliyah and Zikai, two creatives who know their city’s rhythm by heart. Naliyah takes us to Nytorget and Gamla Stan, two places full of personal meaning, from stillness found near her studio to memories of ferry rides to her family’s summer place. For Zikai, it’s all about the laid-back pull of Reimersholme, Långholmen, and Skinnarviksberget, places layered with nostalgia, community, and the kind of summer energy that lingers.Together, they show us how the right sandals don’t just carry you, they carry the story of where you’ve been, and where you’re going. Sandra Myhrberg: What does a perfect summer day in Stockholm look like for you, and how do your favourite spots reflect that vibe?Naliyah: A perfect summer day in Stockholm? Just good people, good food, and not having to rush anywhere. I love sharing a meal with family or friends somewhere nice, outside if the weather lets us. I don’t need much more than that.Zikai: Waking up at 11 am with no plans, grabbing an overpriced coffee, and meeting some friends by Reimersholme or Långholmen. Then we just stay there for an unreasonably long time. Then repeat. SM: You’ve both chosen locations that are full of character. What makes these places meaningful or inspiring to you personally?N: London taught me how to stretch time and find stillness in movement. Nytorget reminds me of that. It holds the same frequency. It’s not just where the studio is, it’s where my thoughts settle. Gamla Stan takes me back to childhood. I used to catch the local boat from there to my family’s summer place. Some things just stay with you.Z: I chose those locations because they bring back memories from summers during my teenage years. I had friends living in the area, and we were always up to whatever. Even though time passes, I still come back here every summer. Whether I like it or not, I kind of have to my friends aren’t going anywhere. SM: How would you describe your style during the warmer months, and how do Dr. Martens sandals fit into that?N: Tight top, parachute pants, clean accessories. An oversized hoodie for late summer nights. Simple, but it says enough. The Dr. Martens sandals give the finishing touch.Z: I do love a little toe moment- especially during July and August when I set up camp anywhere there’s water. Day to day, I like to keep it simple with a tank top, shorts and a few accessories. What I like about Dr. Martens sandals is how they make a chill budget outfit hit different. SM: When exploring the city on foot, what makes a sandal stand out—comfort, style, versatility? How do you balance it all?N: Balance isn’t something I chase; I try to just tune into it. For me, footwear sets the tone. A sandal has to be comfortable first, but if it lifts the whole outfit, even better.Z: Stockholm is such a walkable city, so comfort has to come first. That said, I’m not always the best at walking as much as I should, so I do consider style. But it depends on the occasion and what I’m styling the sandal for. If I’m chilling, I just want to be comfortable. SM: What’s your favourite occasion to wear sandals?N: After a good swim in the Swedish archipelago.Z: On my way to, in, and from the studio. SM: What’s one hidden gem or local tradition in your neighbourhood that more people should know about?N: Shoutout to Omayma at Nytorget! It’s more than a café, it’s the kind of place where the music always hits, the energy feels familiar, and no one’s in a rush to leave. The owners have created a space that holds both young voices and old souls, a local rhythm and a safe space.Z: There’s a lake called Söderbysjön in the Söderort area where I grew up.  That place was banging when

An Interview With Viktoria Chan Ulrika Lindqvist Structured elegance, subtle strength, and timeless design. Viktoria Chan’s fashion philosophy is as thoughtful as it is empowering. Since launching her eponymous brand in 2013, the Swedish-Chinese designer has redefined minimalism with a distinctly modern edge, creating pieces that elevate rather than overshadow the wearer. In this interview, Viktoria speaks with Odalisque about architectural inspiration, the art of balance in fashion, and how clothes can quietly yet powerfully boost confidence in the women who wear them. Ulrika Lindqvist: Your brand embodies structured simplicity and modern sophistication,aiming to empower the urban career woman. How do you translate these concepts into your designs?Viktoria Chan: Simplicity is long lasting and classic, but it can sometimes also be soulless. So our motto in doing design is to always think beyond that, to bring personality in both the pieces and the wearer. As such we have a golden rule, to make something complicated simple, and to make something simple memorable. A very plain T-shirt is a go to in the wardrobe, but it is just a white T-shirt. However if we play with just one seem, it becomes something unique. This doesn’t mean that we just add details just because we have to, but every detail has to make sense! UL: Your philosophy emphasizes that it’s not the clothes that should be noticed, but the woman wearing them. How do you design pieces that enhance the wearers presence without overshadowing her?VC: That is also aligns with the fact that we want to do minimalistic yet unique as it wont take over but only add flavor, to spice it up a bit with the same purpose make-up has. In Sweden we call “lagom”, it’s just the right amount of simplicity and complexity and that’s how we aim to enhance and bring personality to the wearer. UL. Architecture and natural movement inspire your signature silhouettes. Can you share how these elements influence your design process?VC: In architecture, human body, art and in clothing there are a lot of similarities. The golden ratio is one of them where lines are drawn in the most visually balanced perspective. As such we can most often draw inspiration from both art and architecture as lines can all be applied in the same way. It can be constructed lines, folded pleats, bold swirls etc. The nature is also an important source where the nature has and creates a lot of beautiful elements such as stones, crystals, plants, and much more. For example the movement of the wind can be captured and implemented in our design by draping and choice of fabric. UL: Versatility is a key aspect of your collections, allowing for seamless transitions from day to night. How do you approach creating such adaptable pieces?VC: There are different aspects that make it more or less dressed up. The choice of fabric, the design or the styling. Shiny fabrics are visually more dressed up, but styled with something casual, it has a perfect daily look. I personally love wearing nice satin trousers with an oversized top that can easily be transitioned from day to evening look. Some silhouettes are more dressed up already, which we intend to dress down by choosing for example linen or cotton. UL: Your designs feature neat tailoring, sleek colors, feminine lines, and minimalist details. How do you balance these elements to maintain your brands essence?VC: I believe by having all these features merged together, that’s how we can maintain the brands essence. Of course, in our collection we have pieces that are more feminine, cooler, or cuter, but they are all representing VC but on different occasions. UL. Your collections showcase timeless design elements like knots and curves, infused with a unique, neutral sensibility. What inspires these recurring motifs in your work?VC: As I mentioned before, I really like to express my creativity and design by playing with construction and deconstruction, how to manipulate lines, curves and knots that is shaped . But the details should not be excessive nor too much, they should look like they were meant to be there, just a subtle detail that gives the extra touch. UL: You launched your brand in late 2013 and have since expanded internationally. What challenges and milestones have you encountered during this journey?VC: In every stage we face different types of challenges and then there are some challenges that is ongoing, so I guess it will always be like that. I studied business in school so apart from loving fashion, I had no experience nor knowledge about the fashion business. Adding to that, I had no network in fashion either on the Chinese or the Western market. In the beginning I faced challenges to find suppliers, photographers and then of course challenges related to marketing and sales. Apart from these, there are even more everyday micro-challenges to face, such as delivery time, counterfeit products, delays, market demands, and more. At the same time, every milestone is a success. Seeing every editorial, everyone buying and wearing VC, every new store and existing stores are all fractions of the journey that keeps us ongoing. UL. Your brand caters to the independent woman who empowers herself through personal style. How do you envision your designs supporting and enhancing this empowerment?VC: I think it would be the answer to previous questions. I believe it’s important to dress for yourself and feel empowered from the inside. I try to boost this in my design, where details, patterns and material can make them feel confident about themselves. We have customers who come to us after a date and say they felt so beautiful that their confidence was noticed. We have customers who buy our pieces for work occasions and will also wear VC on important meetings and conferences because they feel more empowered in the clothing. And they wear it over and over again, it’s like their go to uniform when they’re about to make something important. In the end, we don’t do magic, but through small unique details, we can boost inner beauty, not take over

White Cliffs of Dover, an Interview with Søren Le Schmidts Natalia Muntean “I see clothing as structures for the body,” says Søren Le Schmidt, the Danish designer whose sharp, minimalist designs have graced red carpets, royal events, and even Tivoli’s candy-wrapper-clad mannequins. Known for his ability to blend old-school tailoring with futuristic flair, Schmidt is as much a storyteller as he is a designer. “I love breaking apart tradition and giving it a modern edge,” he admits, and it’s this fearless approach that has made him a standout in the fashion world. From dressing Queen Mary of Denmark to championing sustainability through upcycling and on-demand production, Schmidt’s work is a masterclass in balancing innovation with responsibility. In this interview, he reveals the inspiration behind his latest collection, his dream of designing for the Met Gala, and why, despite his glamorous career, he’s happiest at home with his family, sketching new ideas. Natalia Muntean: What was the inspiration behind your latest collection, and how does it reflect your evolution as a designer? Are there any specific pieces or themes you’re particularly proud of?Søren Le Schmidt: My latest collection is inspired by architecture and the structured design language I always work with. This time, I focused even more on contrasts: between tailoring and organic shapes, between the classic and the futuristic. I’m particularly proud of the new silhouettes, where I play with sharp lines while creating more movement in the garments. NM: Your designs blend old-school tailoring with subcultural references and an edgy touch, while also drawing inspiration from architecture. How do you balance tradition, innovation, and architectural influences in your collections?SLS: I’m trained as a tailor, so craftsmanship is my foundation. But I love challenging it and breaking it apart – that’s where my fascination with architecture comes in. I see clothing as structures for the body, and I work a lot with sharp, graphic lines. Innovation comes from taking the traditional and giving it a modern edge, like mixing classic suits with asymmetric cuts or unconventional materials. NM: Your work emphasises gender fluidity and cultural diversity. How do you ensure your collections resonate with a wide audience while staying true to your vision?SLS: For me, it’s not about designing for a specific gender but about creating clothing that makes people feel strong and allows them to express their identity. I focus on androgynous cuts and universal shapes that don’t dictate who should wear them. It’s important that my designs can be worn by anyone, regardless of gender, age, or background. NM: Sustainability is a core focus for your brand. Can you share some challenges you’ve faced in sourcing 100% sustainable fabrics, and how does on-demand manufacturing help reduce waste? What advice would you give to emerging designers who want to prioritise sustainability?SLS: Finding 100% sustainable materials that still have the quality and structure I want is a huge challenge. Many sustainable fabrics aren’t yet on the same level as traditional materials, but the industry is moving in the right direction. On-demand production means I only produce what is sold, eliminating overproduction. My advice to new designers: is to start by thinking about how to create less waste – smaller collections, fewer but better materials, and designs that stand the test of time. NM: You’ve worked on projects like the Røde Kors “kaffebordsbog” to promote upcycling. How do you see the role of upcycling in the future of fashion, and how can it inspire broader industry change?SLS: Upcycling is one of the most important solutions to fashion’s waste problem. I love taking old materials and giving them new life—it’s a way to create something unique while being responsible. If more brands start seeing leftover materials as a resource instead of waste, it could change how we produce fashion entirely. NM: How do you decide which projects or collaborations to take on, and what makes a partnership successful for you? SLS: For me, the most important thing is that a collaboration makes sense both aesthetically and value-wise. I only say yes to projects where I feel I can contribute something unique while also learning something new. A good partner shares my values of quality and sustainability but also gives me creative freedom. NM: You’ve designed for royalty and red-carpet events. How do you approach creating pieces for such high-profile occasions while maintaining your signature style? What’s the most memorable design you’ve created, and what made it special?SLS: When designing for royalty or red-carpet events, it’s all about finding the balance between elegance and edge. My most memorable design has to be the dress for Queen Mary. It was such an honour to dress such an iconic figure. I wanted to stay true to my minimalist design language while creating something timeless and majestic. NM: How do you balance your roles as a designer, TV personality, and commentator? Do these roles influence each other, and how has your TV experience impacted your work in fashion?SLS: TV has given me a platform to talk about fashion in a more accessible way. I like combining the creative and the communicative, so I don’t see my roles as separate but as part of a bigger storytelling about design and aesthetics. NM: What was the transition from working for other brands to launching your own label in 2018?SLS: It was incredibly exciting but also really tough. Running your own business means you have to think about everything—from design to production to finances. But it also gave me the freedom to create exactly the universe I wanted. NM: If you weren’t a fashion designer, what career path do you think you would have pursued?SLS: Definitely something creative—maybe architecture or graphic design. I’ve always been fascinated by shaping forms, whether it’s in clothing or buildings. NM: What’s one thing people might be surprised to learn about you?SLS: I’m actually quite introverted, even though I appear very outgoing in my work. I love being social, but I recharge when I’m alone with my wife and kids and can fully immerse myself in design. NM: If you could design for any event or person in the

Strangeness & Charm photography  Martin Kiessling