Fashion Articles

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 

The Art of Comfort: Dr. Martens Expands the Zebzag Sole text Ulrika Lindqvist Images courtesy of Dr Martens After making waves this summer with the viral Zebzag Mule, Dr. Martens continues its exploration of comfort and edge by expanding the Zebzag sole into new silhouettes. Designed for effortless wear, the latest boots bring the brand’s signature craftsmanship and rebellious attitude into year-round versatility. “The Zebzag sole is purposefully engineered to meet the demands of modern life — blending exceptional craftsmanship, durability, and everyday comfort. These new silhouettes move with you, fitting seamlessly into any wardrobe while delivering the unmistakable Dr. Martens edge,” says Adam Meek, Chief Product Officer at Dr. Martens. Leading the launch is the Zebzag Laceless Boot, inspired by the brand’s iconic 1460 model and reimagined for ease. The laceless design maintains the classic lace-up aesthetic, crafted in relaxed black Wyoming leather that feels both lived-in and fresh straight out of the box. The look is completed with Dr. Martens’ signature black and yellow heel loop. Sitting slightly lower on the ankle, the Zebzag Rigger Boot draws from industrial silhouettes and redefines them for everyday comfort. Also a slip-on, the Rigger features double pull tabs, puritan stitch detailing, and comes in black Wyoming leather or water-resistant Milled Nubuck in seasonal tones. At the heart of both designs lies the Zebzag sole, built around a cushioned core that combines a lightweight EVA midsole with a durable PVC tread. Simple, ergonomic, and impressively light, it encapsulates the essence of Dr. Martens DNA — complete with a wider base, bold grooves, and the brand’s iconic yellow welt stitching. Inside, SoftWair insoles provide an added layer of calm and comfort. The Zebzag Laceless and Zebzag Rigger boots are available globally, read more at www.drmartens.com

SÉZANE: A Fall Chapter text Ulrika Lindqvist In Paris, la rentrée is more than just the return after summer, it’s a cultural ritual, a fresh start charged with quiet energy and creative possibility. For Sézane, each season begins with that same spark: a reawakening of imagination that threads itself through every piece of the collection. The Fall release carries forward what has become synonymous with the house: signature knitwear, vintage-inspired denim, and tailoring honed to effortless perfection. Classics like the Clyde and Bobby trench coats reappear in reimagined versions, while new silhouettes and prints step into the spotlight, adding a sense of discovery to the familiar. This season is not only a wardrobe but a story shaped by twelve years of voices, talents, and encounters that continue to define Sézane’s world. Launched on August 24th, the collection marks the beginning of another chapter, imbued with the understated elegance and enduring creativity that the brand has made its own. About Sézane Founded in Paris in 2013, Sézane grew out of Morgane Sézalory’s vision to create timeless, high-quality pieces at fair and accessible prices. What began as a personal project has since evolved into a community-driven brand where creativity, craftsmanship, and connection are at the core. Beyond its celebrated womenswear collections, Sézane extends its universe through Octobre Éditions for men, Petit Sézane for children, and Les Composantes for homeware, each reflecting the same thoughtful design philosophy that has defined the house from the very beginning. images courtesy of Sézane

An interview with Felicia Halén Fredell, the founder of The Reverence Project text Ulrika Lindqvist Fashion designer Felicia Halén Fredell launched The Reverence Project in April 2024. TRP takes it’s inspiration from their muses, their first collection being inspired by activist and poet Nattalie Ström Bunpuckdee. We had a chat with Felicia about her inspirations and the future of The Reverence Project. Please tell me a bit of your backstory, what did you do before launching The Reverence Project and what was the idea behind it? Like so many others the pandemic really affected me mentally. As a freshly graduated fashion designer I felt chewed up and spat back out, close to a burnout. My field completely lost its appeal and I was really stuck in a mindset of counting the fashion industry’s faults – the list goes on and on. It made me feel really powerless and at times even apathetic. I had too much time on my hands to think about what really matters. I realize this differs from person to person but for me, I concluded that meaningful and challenging conversations are what makes my life worth living. More than one person in my life said I was a good listener and I took that to heart and ran with it, that’s all I’d ever like to be. This idea kept on growing and brewing for years, and when you can’t seem to let go you know you have to realize it somehow. I wanted to create designs centered around other people’s perspectives. I wanted the privilege of getting to know people and zoom past small talk to where we talk about what matters most to them and why. I kind of found The Reverence Project to be a hack of sorts. It’s essentially about hope and how sharing experiences and stories with others make you feel less alone. It’s really empowering to be the trailblazer who first talks about their experiences, but it’s also really empowering to hear someone put your experiences into words for the first time as well. What is your inspiration behind your designs? The potential of fashion is endless because it’s a fine-tuned language, stories can be weaved into garments in so many ways. By now I’ve developed this standard form based on my first muses that basically is a template for an interview. I ask them about their relationship to their body, does clothes usually serve as a uniform, armor or creative expression? And then we talk about the relationship to the self. Are there recurring life themes that have shaped them as a person? Is there anything they wish someone would ask them? These conversations usually lead to really beautiful, vulnerable and fulfilling places, and I try to share some bits and pieces of myself so it doesn’t feel exploitative for the muse. When they word something in a hard-hitting way it usually becomes a visual metaphor that I can use in my design. It often ends up becoming prints or draping that is meant to represent the muse’s story. Whether it translates is a completely different thing, but how my design is received and further interpreted is just as interesting. Please tell us more about your muses? Anyone could be a muse, because everyone has a story to tell. But I sometimes describe my muses as unintentional activists. They’re the type of person who can’t help but to speak their mind in the eye of injustice. Maybe the mood at the dinner table becomes a little uncomfortable, but they sleep well at night knowing that they stood up for something they believe in. At first my muses were close friends who became my patient testing guinea pigs. I slowly developed the questions that I figured led to those radically vulnerable conversations. At its core The Reverence Project aims to be unapologetically intersectional feminist and so the muses often reflect that. Voices that are seldom heard should be amplified. And it’s my pride and joy to weave their stories into garments. What would you say are the 3 core values for The Reverence Project? Radical vulnerability – because it takes great strength to be soft.Authenticity – depicting my muses in a respectful and empowering way is something I take very seriously. Existential sustainability – it basically means hope, giving people hope through our shared stories. How would you describe your customer? I think my customer in many cases are very similar to my muses. They often stand for something, and in doing so stand out. Since their identity is a bit of a statement, blending in was never an option. They might as well dress expressively as well in colors, prints and silhouettes that can be exaggerated. It’s all a springboard towards expressing personal thoughts and ideas. I think my customers often consume a lot of culture in all its shapes and forms, fashion is just another of many interests and they happen to like something quite feminine even if they don’t necessarily always identify as a woman. But they’re daring in their softness and relate to specific stories and therefore garments from The Reverence Project as well. What have been the most challenging aspects of launching The Reverence Project? I think the fact that I’m alone in my business thus far. I’m surrounded by a lot of great creators and creatives that I’ve collaborated with while developing the brand. But as of now I don’t have a team and it’s probably the big thing up ahead of TRP. What can we expect from The Reverence Project in the near future? Expect more interviews with muses who wear their heart on their sleeves. And with them looks developed specifically after their stories that are jam-packed with meaning. But don’t expect them in the tempo of a fashion brand that shows collections several times per year during fashion weeks. When you least expect it, we might drop a beautiful story for you to enjoy! Lorem ipsum dolor sit amet, consectetur adipiscing elit.