Fashion Articles

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

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

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

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

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

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

Odalisque Magazine Interviews Leandra Medine Cohen & Linn Frisinger: Integrated Parts — Swedish Stockings text Jahwanna Berglund images courtesy of Swedish Stockings When Swedish Stockings, the pioneering sustainable hosiery brand joined creative forces with writer and tastemaker Leandra Medine Cohen, the result was more than just a capsule of tights. Integrated Parts is a celebration of personality, contradiction, and self-expression where playfulness meets purpose. Odalisque speaks with Swedish Stockings’ co-founder Linn Frisinger and Leandra Medine Cohen about their creative process, shared values, and the subtle power of the “small things” that shape how we dress. Leandra, you’ve described tights as the “outfit-maker.”What was the first idea or image that came to mind when you began designing this collection, and how did you want these pieces to make people feel when they put them on? LMC:We went back and forth on concepts. I created a moodboard and we spent a lot of time on emails and Zoom calls discussing what would make for the simultaneously most fantastical, but also practical tights. A lot of the ideas didn’t make sense ultimately I wanted to create studded waist pants on some of the tights! But I’m very happy with where we landed. What made this collaboration feel like the right fit, and how did both perspectives influence the design language in this collection? LF:Leandra is a true tastemaker, someone with a sharp point of view, a lot of character and a unique way of playing with fashion. She doesn’t follow the rules; she creates her own, and that aligns beautifully with our philosophy that fashion shouldn’t be too serious. As a fashion accessory brand, we believe in expression over perfection. Collaborating with her allowed us to stretch creatively, to be bolder and ultimately we couldn’t have wished for a better outcome. Her touch is evident in every detail. LMC:Swedish Stockings is one of the only tight brands I can think of that places a premium on image and creative direction while still delivering a luxury product. They balance classics on one hand and risky colors, finishes, and fabrications on the other. I’ve been wearing their tights for a long time. How did that duality reflect both of your personalities and creative processes? LF:That duality is central to both the campaign and who we are as a brand. It mirrors how we work: intentional, but with room for surprise and spontaneity. Leandra has an incredible instinct for balance between loud and elegant, between classic and unexpected and that came through strongly in this collaboration. It’s also a reflection of real life: none of us are just one thing. The collection embraces that fluidity, offering a piece for every version of yourself. What prompted the name Integrated Parts? LMC:Each pair reflects a different personality for a different look. The collection is about integrating the different parts of your style and making their common denominator you. Each pair in Integrated Parts feels like a character.Do you each have a personal favourite, and what does it say about your mood or style right now? LF:Right now, my favourite is Geri — both the silver and the red version. There’s something about the glossy texture that feels nostalgic and instantly elevates any outfit. The red Geri especially speaks to me at the moment: it’s vibrant, a little unexpected, and it pairs beautifully with my current colour obsession — brown. LMC:I think my most worn will be the Natasha, sheer white tights, which I can’t wait to wear styled under black tuxedo pants with black satin sandals on one hand, or with a camel mini skirt and casual t-shirt and black flats. Where did you pull inspiration from? Were there any specific eras, icons, or even your own personal style moments that you referenced? LMC:I revisited some of my favorite tights and thought, what could make these better? That’s how we ended up with super sheer white tights. The tiger print was actually inspired by an old photo of Chloë Sevigny from the late ’90s. My creative process is quite pragmatic, though I tend to think about what would make a piece work harder in an outfit. How do you both see the role of “small things,” like tights, in shaping how we dress and think about sustainability today? LF:Tights are often overlooked, yet they’re one of fashion’s most wasteful items, over eight billion pairs are discarded every year. In many ways, they’re the plastic straw of fashion: small, but with a big impact. With this collaboration, we wanted to show that you don’t have to choose between style and sustainability. Tights can completely transform a look adding personality, contrast, or polish. Especially in colder months, they become a key styling piece. LMC:Possibly because as minimalism has seeped so deeply into all of our wardrobes, tights are a low-stakes and low-risk way to make an impact. They can be the centerpiece of an outfit and that’s what makes them so powerful.   Finally, when you imagine someone wearing these tights, who do you see? LF:When I imagine someone wearing these tights, I see an energy that’s playful and fun with fashion, someone who’s not afraid to be daring and experiment. The spirit of Integrated Parts is all about confidence, creativity, and joy in self-expression. It’s for those who embrace their individuality and use fashion to tell their own story. LMC:Someone curious, open, and a little mischievous, the kind of person who enjoys finding humor in style. That’s the essence of this collection.

ROOM FOR THE LIFE – An Interview with Lan Krebs text Maya Avram stockings Swedish Stockings shoes Stylist’s Own jewellery Maria Nilsdotter Lan Krebs designs with his head in the clouds and strategises with his feet on the ground. Yes, he was inspired to become a designer from a young age, with romantic ideas about leaving his native Slovenia and going out into the world to make a big name for himself. But his path to the prestigious Swedish School of Textiles has been meticulously calculated, with Lan often making creative choices out of necessity and in response to challenges that, in the end, led him to where he says he was always meant to be.   Maya Avram: How did your journey into design start? Lan Krebs: I have always been interested in design, ever since I can remember. In primary school, I said I would be a fashion designer one day. My father was a bit terrified, but my mother said I should do what makes me happy. I was too late to apply for the Swedish School of Textiles, but everything happens for a reason, and I went there on Erasmus… After three months, they offered me a full-time study position, so I stayed. MA: What made you want to specialise in knitwear? LK: During my bachelor’s programme, I took a knitwear class, where the teacher introduced us to a guy who was selling old hand-knitting machines and yarns. That was when I knew I wanted to be a knitwear designer. I bought a knitting machine from him and some yarn, and started my journey. I’m very passionate about this practice because it holds unlimited possibilities. Knitting splits into circular knitting and flatbed knitting. When I started studying at the Swedish School of Textiles, my idea was to do flatbed, but we had limited access to those machines, which was very frustrating, so I decided not to go in that direction. I wanted to be free with my time, with materials, so I asked the lab technicians which machine is the most available one, and does not require their help to operate. I wanted to handle the machine on my own because it was the only way I could get more time on it, so that I could really hack it, even if it’s very manual. They said the circular single jersey machine is the only one that I can really handle by myself. It all came from that. bracelet ANI Jewels sneakers PUMA / Zalando bracelet Edblad stockings Swedish Stockingss heels Christian Louboutin MA: Sounds very responsive. LK: The machine itself is very simple, all I can knit with it is plain single jersey or striped — that’s it. No jacquard, nothing, just stripes in different variations. The technician was really happy I chose that machine because, according to him, “It doesn’t need to be complicated when it comes out of the machine. You can make it into so much more after.” Then I developed my material, and because I cannot do jacquard on that machine, I said, okay, let’s do print. This idea came very naturally, since the woven pieces are symmetrical and have this butterfly effect because they come out of the machine shaped like a tube. I didn’t want to cut this tube and do any additional sewing. I just wanted the tube to somehow fit the body, and the only way to do that was pleating, which makes the knit very elastic.  This is the process. Not so much “This is my inspiration, a tribute to my Slovenian heritage”, but a response to restrictions that we had, and wanting to get as much as I can out of the school’s facilities. Every part of my journey happened as it should have. It was a nice period of experimentation with different materials, of finding the techniques that drive me.  bracelet ANI Jewels stockings Swedish Stockings earring Maria Nilsdotter heels Christian Louboutin MA: If your creative practice came out of cold calculation, how does your creativity come into play? LK: This exploration process needs to be very intuitive. In my case, I don’t even do samples. The technicians in the print lab asked if I’d like to test colours, and I said no, it’s a waste of time. When dying fabric — it’s called space dying — I place wet fabric on a table, and I then start staining it with pigment. If I want the pigment to “bleed”, I add more water. It’s really hard to measure and control this process, making it impossible to achieve the same effect twice, so there is no reason to do samples. You just need to follow your gut and have a little bit of luck on your side. bracelet ANI Jewels ewellery Maria Nilsdotter jewellery Maria Nilsdotter MA: There seems to be a clear distinction between your design process, which is very intuitive, to your self-promotion, which is more strategic. LK: It’s key to getting more attention and having eyes on you. Social media is how you present yourself, how you build a name for yourself, and it’s something that a lot of students are afraid of. It takes time to create a post, and it takes time for your post to perform. I do social media for Fashion Week in Ljubljana, and I tested so many tricks to make a post work, to figure out why some posts work better than others. I’m applying that knowledge to my own profile. If you share your process, for example, people will engage with it. They will like it, they will comment on it, they will save it, and they will send it to someone else. I can show the final result, but the process is the part that really resonates with people and expands my reach. MA: How else are you innovating your process? LK: I’m using the burnout technique, which is toxic from a sustainability point of view. My garments are made of polyester for

Nicklas Skovgaard — Threads of Memory and Modernity text Ulrika Lindqvist Fresh from winning the Wessel & Vett Fashion Prize 2025, Nicklas Skovgaard reflects on the journey that began with a child’s loom and a fascination for self-expression. His eponymous label, defined by sculptural silhouettes and emotional storytelling, continues to evolve from instinct and intimacy, blurring the line between nostalgia and now. In conversation with Odalisque Magazine, Skovgaard shares how character, contrast, and craftsmanship remain at the heart of his creative vision. Ulrika Lindqvist: Congratulations on winning the Wessel & Vett fashion prize, what are your initial feelings? Nicklas Skovgaard: Thank you so much. I feel deeply grateful, happy and humbled. Winning the Wessel & Vett Fashion Prize feels like a full-circle moment – a recognition of years of work, curiosity, and persistence. It’s a very big milestone for the brand. More than anything, I feel very motivated – this prize feels like both an acknowledgment of what I’ve built so far and an incredible push toward what’s next.   UL: How has it been being a finalist? Nervous? exciting?   NS:  I’ve been both nervous and truly exciting. The Wessel & Vett Prize has always been close to my heart because it actually marked an early turning point for the brand back in 2022, when I was first nominated. Being a finalist again this year feels like revisiting that moment – but now with a much clearer sense of direction. The nerves were definitely there, but mostly because I care so deeply about what I do. It’s an honor to stand among such talented designers and feel that my voice has grown stronger since then.     UL:What initially drew you to the fashion industry?   NS:  My fascination with fashion began in childhood. I grew up on a small island in Denmark with no real access to fashion in the traditional sense – no glossy magazines or boutiques – but my mother had a strong sense of self. Watching her get dressed every day, shifting between different characters through clothing, really shaped my understanding of fashion as a form of self-expression. Later, films like Marie Antoinette and The September Issue deepened my fascination – they represented two opposite worlds, romanticism and realism, which I often use to describe my aesthetic today. Images courtesy of Wessel & Vett photography Nynne Henriksen/ moon  UL: What motivated you to start your brand?    NS: The brand began almost unintentionally – as an open-ended research project. In 2020, I discovered a small children’s loom in a thrift store and started weaving my own textiles. That process – of turning loose yarns into fabric – completely reignited my creative curiosity. I didn’t set out to start a fashion label, but the more I explored, the more I realized I was building something that felt deeply personal. The brand naturally grew from that place of experimentation, and today it’s still rooted in that same sense of curiosity and storytelling.   UL: What would you say are the three core values that define your brand?    NS: Character. Contrast. Silhouette. These three words really encapsulate my aesthetic. Every collection begins with the exploration of character – the emotional story behind the clothes. Contrasts are central to my process – between textures, emotions, and references. And finally, silhouette – how a garment shapes and responds to the body – that’s where the storytelling becomes tangible.    UL:What is your inspiration behind your designs and this collection in particular?   NS:  My inspiration often comes from a mix of personal memory, references and pop culture. My mother in the 1980’s – the ever-evolving eras of my life-long muse Madonna. These are som parts all inform the emotional landscape of my collections. My most recent collection was inspired by the private sphere of the bedroom – how the act of getting dressed, or even how we sleep, shapes the way we get dressed in the morning. I wanted to express that dreamlike feeling of intimacy, softness, and transformation. UL:Can you share some insights into your creative process?  NS: My process very often begins with the fabric or silhouette. I often start by exploring a textile or silhouette I don’t immediately like, then through research and experimentation, I try to transform it into something I love. Draping and constructing directly on the body are key parts of how I design. I also carry techniques and ideas forward from one season to the next, so the collections evolve like a living vocabulary – each new chapter building on the last.   UL:What are your core values as a designer?  NS: For me, it’s about authenticity, storytelling, wearability and emotional connection. I believe clothes have the power to evoke emotion, to connect people to memories and moments. And I always try to balance creativity with usability – even the most sculptural or nostalgic pieces should feel grounded in real life.    UL: Are there any particular projects or moments in your career that stand out as especially meaningful or memorable?   NS:  There are many, but one that stands out is my first runway show in 2023. It was a collaboration with performance artist Britt Liberg – a single performer surrounded by vintage mannequins in a performance-fashion-show about getting dressed and undressed. It blurred the line between fashion and performance art, and it felt incredibly true to my vision. Another highlight was our recent 7-hour long performance at Dover Street Market Paris during Fashion Week. Seeing the brand represented internationally – and witnessing people connect emotionally to the work – was a very special moment. UL: Looking ahead, what’s next for you? Are there any upcoming projects or goals you’re particularly excited about?   NS:  I’m very focused on thoughtful growth – scaling the brand while staying true to its creative foundation. With the Wessel & Vett Prize, I plan to invest in strengthening our international sales strategy and expanding our retail network in a thoughtful way. Creatively, I’ll continue to evolve the narrative side of my collections – exploring how storytelling and clothing can merge even further. 

ODALISQUE MAGAZINE INTERVIEWS Susan Szatmáry text Jahwanna Berglund Known for her quietly luxurious handbags, Susan Szatmáry is expanding her world. With her first footwear collection, she translates the architectural lines, thoughtful detailing and enduring quality that define her bags into a new form — one designed to move with the woman who wears it, not just for a season, but as a lasting wardrobe staple. Images courtesy of Susan Szatmáry You’ve long been celebrated for your elegant handbags and leather goods. What was the moment or inspiration that made you decide it was time to step into footwear?   I launched Susan Szatmáry at the end of 2018, starting with bags since I knew how expensive and complicated it is to make shoes with the stock and sizing. Bags are much easier to place and prototype. Things went slowly and organically, and now we have made a name.   Having previously designed both footwear and bags for other brands, Szatmáry adds, “I can design shoes with my eyes closed.”   It might seem risky to introduce something new in uncertain times, but this expansion was always part of my vision. After years working for houses such as Alexander McQueen (under Alexander Mcqueen himself), Celine, and Rabanne, I wanted to build a world of my own. After growing organically and really getting to know our clients, it felt natural to take the next step. I wanted to bring the same lines, accessories, and colours from the bags into the footwear like it used to be a long time ago. Many of our clients have asked for matching shoes and bags, so I felt there was a true need in the market. Designing shoes brings a new set of challenges. Which part of the footwear process (fit, materials, prototype, scale) surprised you most, and how did you overcome it?   Our message has always been less logo, more quality and functionality, and we apply that same philosophy to our shoes. With footwear, we’ve added comfort and collaborated with the best factories with over 60 years of experience which allowed us to easily balance design and cost.   For some models, we’ve even used stock leather from the factories that was leftover from previous collections to create something beautiful and sustainable, without unnecessary waste.   Your handbags are known for understated luxury and timelessness. How do you carry those same brand values into your new footwear collection, while allowing it to have its own identity?   We always work with slow design, avoiding trends. For the shoes, comfort and practicality are essential, just like with our bags. We bring the same design codes, the same accessories, and the same mindset. You’ve worked on leather goods and accessories at major houses and even helped define the leather standard at Byredo and Toteme. How has that experience informed your approach to shoes, and what lessons did you bring (or unlearn)?   Price sensitivity is an important subject today. You can’t burn your entire budget on prototypes. It’s better to have a clear vision from the start and focus on the final product rather than spending time and money on unnecessary developments. That’s something I’ve learned through experience.   (Susan Szatmáry shoes range from €490 to €650.) Paola and the patterncutter Piero In your launch collection, you emphasize “classic, comfort, and cost-efficiency.” How do you personally draw the line between artistry, wearability, and accessibility when designing a piece?   It’s simple. When I design, I always ask myself: Would I wear it? Do I love it? I never create something without imagining myself carrying or wearing it, even though I would love to wear every single piece in our collection. Looking ahead, what’s your dream pairing — a bag and shoe combo you haven’t made yet, and why does it excite you?   When I design shoes, I go old-school. I do deep research in the library and study what our customers are wearing. Since they often ask for matching pieces, it makes complete sense.   For me, designing a shoe line that can be paired with our bags without focusing on super-high heels is exciting. I love the idea of a woman wearing our loafers together with the Mini Palais Royal, or the Temple Clutch with the Pont de Sully Décolleté for example. The goal is to create timeless combinations that last for years, not just a single season. www.susanszatmary.com