Fashion Articles

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

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

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

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

Strangeness & Charm photography  Martin Kiessling

Eton x Tretorn: A Fresh Spin on Off-Court Style Ulrika Lindqvist Two Scandinavian heritage brands—Eton and Tretorn—join forces for a capsule collection that redefines modern sportswear. Bridging the worlds of tailoring and tennis-inspired streetwear, the collaboration delivers a refined yet effortless wardrobe for those who move between work, leisure, and everything in between. Rooted in collegiate prep and vintage tennis aesthetics, the unisex collection plays with contrasts: sharply tailored shirts meet laid-back varsity knits, while track chinos and reimagined Nylite sneakers bring in a sportif edge. A subdued palette—forest green, navy, eggshell, and sand—grounds the look, with regimental stripes and bold verticals adding character. The capsule marks a milestone for Eton, offering their first full-look collection. “It’s versatile, modern, and a standout mix of tailoring with a sportif edge,” says Mija Bladmo, Eton’s Assortment Director. Tretorn’s legacy in performance-driven design is equally central, with updated Nylite sneakers and playful details giving the collection a fresh off-court energy. Shot by James Harvey Kelly, the campaign captures a sense of ease and authenticity—where Scandinavian cool meets classic sport codes, reimagined for a new generation. The Eton x Tretorn capsule is available exclusively through select Eton stores, etonshirts.com, and tretorn.com.

Mats Gustafson and Ted Muehling’s Journeys in Reclaiming Beauty text Ulrika Lindqvist Deadwood, Stockholm’s champions of upcycled fashion, have teamed up with Swedish eyewear house Vasuma for a limited-edition drop: Weightless — a collection of two near-invisible, frameless sunglasses designed with minimalist intent and maximum impact. Crafted from recycled Swedish surgical steel and produced in Italy, the collection is a refined expression of weightlessness — both literal and aesthetic. Available in two shades, Grey and Pink Gradient, each model (Colletti Sun and Macrelaps Sun) is released in an exclusive run of only 50 pieces per color. “They’re so light you forget you’re wearing them,” says Deadwood co-founder Carl Ollson. “This is Swedish craft at its most stripped-down and visionary.” Vasuma’s Creative Director Jan Vana echoes the sentiment, calling the collection “a fusion of tradition and modernity, for those who choose freedom over convention.” The collection will be available via selected international retailers — including SAMPLAS in Seoul and ASSEMBLY in New York — as well as through Deadwood and Vasuma’s own platforms. 

Carolinne B. – jewellery with a roar text Natalia Muntean Alligators, koi fish, and wolves are all animals that inhabit Caroline Barholm’s creative universe. Since founding her eponymous jewellery brand, Carolinne B, in 2014, she has transformed wild inspiration into rings, bangles, and pendants, each piece a tribute to what nature has to offer. “I love design, and I love nature. Jewellery became the bridge between the two,” says Carolinne. “When I saw how deeply people connected with my pieces, I knew there was something special here.” Blending bold aesthetics with lasting craftsmanship, her work resists fast fashion, instead embracing sustainability and storytelling. Through its wearable art with teeth, wings, and claws, Carolinne B. proves that elegance need not play it safe. NM: I’m curious if there was a specific moment or experience that influenced your designs and your decision to go into that niche.Carolinne B: I like animals and nature. You can always find inspiration in nature, whether it’s a butterfly wing or patterns in the environment. It started with one animal, then another, developing a theme around nature or branches. NM: What was the first animal you created?Carolinne B: It was a lioness, a bangle. I still have that one. After the lioness, I created alligators. NM: I noticed that the names of your collections are so interesting, like Love Bites and Up North. How do you come up with them?Carolinne B: I want them to be a bit witty and fun. The names represent little icons of nature, like ants, bees, and butterflies. They capture the essence of those creatures. Alligators, koi fish, and wolves are all animals that inhabit Caroline Barholm’s creative universe. Since founding her eponymous jewellery brand, Carolinne B, in 2014, she has transformed wild inspiration into rings, bangles, and pendants, each piece a tribute to what nature has to offer. “I love design, and I love nature. Jewellery became the bridge between the two,” says Carolinne. “When I saw how deeply people connected with my pieces, I knew there was something special here.” Blending bold aesthetics with lasting craftsmanship, her work resists fast fashion, instead embracing sustainability and storytelling. Through its wearable art with teeth, wings, and claws, Carolinne B. proves that elegance need not play it safe. NM: I’m curious if there was a specific moment or experience that influenced your designs and your decision to go into that niche.Carolinne B: I like animals and nature. You can always find inspiration in nature, whether it’s a butterfly wing or patterns in the environment. It started with one animal, then another, developing a theme around nature or branches. NM: What was the first animal you created?Carolinne B: It was a lioness, a bangle. I still have that one. After the lioness, I created alligators. NM: I noticed that the names of your collections are so interesting, like Love Bites and Up North. How do you come up with them?Carolinne B: I want them to be a bit witty and fun. The names represent little icons of nature, like ants, bees, and butterflies. They capture the essence of those creatures. NM: I read that you mentioned jewellery doesn’t need to play it safe to be timeless. How do you balance the boldness of your jewellery with ensuring it remains elegant and timeless?Carolinne B: I’m not chasing fast fashion or seasonal drops; I focus on thoughtful growth. I stick to an animal theme, which resonates with people. I create jewellery that’s meaningful and symbolic. Material choice is central for me; I use timeless materials like silver and aim to work more with solid gold. If a piece lasts, it becomes timeless. I also focus on using long-lasting materials like diamonds and gemstones. NM: Now that we’ve shifted a little bit into the materials, I know sustainability is a core value for your brand. What challenges have you faced in trying to source recycled materials and maintain an eco-conscious production cycle? With the fast trends in the world today, I assume this is a challenge.Carolinne B: It’s a big challenge. I’ve not been working with gemstones or diamonds because I can’t relate to that world; I know how dirty it is with diamonds and mining and all of those gemstones. I found upcycled diamonds and gemstones that I buy from auctions and pre-owned pieces, from which I can take the gemstones and diamonds. It became another thing for me because now I can use them. I think it’s okay now because I don’t mind, and I’m not part of that world that I can’t stand for. It’s crucial for me because I work with an animal theme and a nature theme, and I can’t go against it, even though I love gemstones and diamonds. It’s a crucial and big part. Ensuring quality can be challenging. When I buy from auctions, sometimes I can’t trace the origin. They have people who check and assess the quality, so I often get good quality, but tracing the provenance can be an issue. However, instead of extracting new materials, I prefer to use pieces that are already cherished or worn. Diamonds are forever. NM: That’s also in a poetic way. You give them a different or new story, and that’s something beautiful about it. From what I understand, each piece is handmade in Stockholm. Is it you who does it, or do you have a team? Can you walk me through the journey of creating a piece? Carolinne B: It starts with me. I begin with sketches. I’m not great at drawing, but I can sketch what I want to do. From there, I work with someone who helps me with CAD printing. When we’re done, I go to a place in Stockholm that moulds it together with me. After that, we create a prototype, also in Stockholm, and we cast it here. I don’t do the casting anymore because it’s too much time-wise. Everything is done here in Stockholm. NM: I saw that your jewellery has been worn by Alba August, Tove Lo, and Princess Sophia. That’s really cool! Have you noticed what kind of

Woven Stories: An Interview with KÔYÉ text Zohra Vanlerberghe KÔYÉ is more than a fashion label. It’s a story woven through textiles, heritage, and emotion. Shaped by a Parisian childhood, a multicultural background, and a passion for meaningful design, its founder brings together timeless elegance and bold global influences. From the tactile memories of childhood fabrics to encounters across the world, she creates pieces that carry stories, confidence, and sustainability at their core. In this interview, she shares the inspirations, philosophies, and personal moments that define her creative journey. Sandra Myhrberg: How would you describe your childhood growing up in Paris? Do you think it influenced your career path? Did you always know from a young age that you wanted to become a fashion designer?Alicia Issaka: I grew up in a lively and multicultural Parisian neighborhood, surrounded by strong, elegant women,my mother, especially, was a huge influence. She used to take me to fabric stores, letting me touch the silks, the lace, the kinds of cotton. I didn’t know then that I would become a designer, but I knew how clothes could make someone feel powerful and beautiful. That early emotional connection to fabric definitely shaped everything I do today. SM: How did your upbringing in Paris and your multicultural background shape your creative vision and the designs you create for KÔYÉ?AI: Paris gave me a deep respect for timeless style, for cuts that flatter without shouting. But my multicultural background taught me to embrace contrasts,colors, textures, stories. At KÔYÉ, you’ll see that blend: silhouettes with classic elegance, combined with bold prints, unexpected details, and textiles that reflect stories from around the world. It’s this balance between heritage and modernity that defines our creative DNA. SM: You describe KÔYÉ as more than just a brand,it’s a story told through textiles. Can you share the moment you knew you wanted to create this kind of Fashion experience?AI: It happened during a trip to Ephèse in Turkey. I came across a woman wearing a traditional outfit made from the softest handwoven fabric. She told me the story behind how her mother had gifted it to her when she got married. That conversation stayed with me. I realized I didn’t want to design just for aesthetics, I wanted to create pieces that hold emotion, memories, and meaning. That’s how KÔYÉ was born. SM: You grew up in Paris but now live in Barcelona. What would you say is the biggest difference between fashion in Paris and fashion in Barcelona?AI: Parisian fashion is all about refinement and discretion. In Barcelona, there’s a lighter, more relaxed energy in how people dress, it’s confident but less rigid. Living between the two has helped me develop pieces that combine both: structured elegance with a sense of ease and sensuality. SM: Can you tell us about a specific experience or encounter during your travels that deeply influenced your design philosophy?AI: In Panama, I watched a group of women wearing vibrant fabrics with complete confidence. The prints were bold, the shapes were fluid, and there was something deeply unapologetic about it all. That trip reminded me that clothes should empower. That fashion isn’t just about looking good, it’s about owning your presence. SM: KÔYÉ blends Parisian elegance with sustainability, two concepts that can sometimes feel at odds. How do you strike a balance between the two?AI: For me, elegance is about intention, not excess. True luxury is a well-made piece you can wear for years, not just a season. We produce in small quantities, using high-quality, responsibly sourced fabrics. It’s not always easy, but it’s essential. I’d rather create fewer pieces that matter than chase trends that disappear. SM: How do you choose your fabrics, and what role does sustainability play in That process?AI: The fabric is where everything begins. I touch it, test how it falls, how it moves. I source everything locally from Spain, working with suppliers who align with our values. We avoid synthetic blends as much as possible, favoring natural or low-impact textiles that age gracefully. Sustainability isn’t a trend for us, it’s a design principle. SM: The Samarcande velvet dress and the Hérat top are stunning examples of duality in design. What’s the story behind these signature pieces?AI: Samarcande was the first dress I ever imagined, it’s our essence: elegant but powerful, structured yet fluid. The velvet gives it a rich, wintery presence, but the cut makes it surprisingly versatile. Hérat was designed with transformation in mind: a removable collar, jewel-like buttons… it’s a top you can wear to a meeting and still feel fabulous at dinner. Both are about adaptability, the wardrobe of a woman in motion. SM: La Muse pays tribute to women who inspire you. Can you tell us about a muse who had a profound impact on this collection?AI: One of my earliest muses is Audrey Hepburn, who worked in cinema and always dressed like a movie star. She taught me that elegance and ambition were not opposites. She would pair sharp tailoring with the softest fabrics, always in color. That mix of strength and softness, that’s what I tried to capture in La Muse. SM: If you could see KÔYÉ worn by any woman in the world, living or deceased, who would it be and why?AI: Honestly, Grace Kelly. She embodies everything KÔYÉ stands for: intelligence, strength, presence, and grace. She knows how to make fashion feel both meaningful and effortless. Seeing her in one of our pieces would be the ultimate affirmation of what we’re building.

Cartier’s New V&A Exhibition is a World-Encompassing Celebration of Craft text Nicole Miller It’s been nearly 30 years since Cartier has had its own dedicated exhibition in London — a surprising fact considering the English capital is one of the jeweller’s three foundational cities, along with Paris and New York. And so the opening of Cartier’s titular show at the Victoria and Albert Museum last week marked a homecoming, of sorts. “The V&A and Cartier were established only five years apart,” said Dr Tristran Hunt, the museum’s director, at a press view last week. “[Founder] Louis-François Cartier, his three grandsons and the founders of this museum all shared an ambition to elevate craftsmanship and design to the realm of art, transcending mere utility for enduring artistic legacy.” This, Dr Hunt notes, was made possible by prioritising transatlantic partnerships. Curated in partnership with Cartier (and the generous support of the Royal Family, who contributed pieces from their private collection), the space showcases 350 beguiling pieces that tell a story of cultural exchange, innovation and of active participation in — rather than merely observation of — societal trends. From the Garland-style Scroll Tiara, commissioned in 1902 and worn for the coronation of Her Majesty Queen Elizabeth II, and later donned by Rihanna on the cover of W magazine in 2016, to the Tank watch originally owned by Jackie Kennedy and later acquired by Kim Kardashian, the collection weaves together eras, empires, and individuals to humanise Cartier’s storied history and underscore its enduring cultural relevance. The Cartier brothers’ global vision drove them to forge meaningful relationships with royals, socialites, thought-leaders and other influential figures from around the world throughout the early 20th century, crystallising the entrepreneurial spirit that underpins the brand’s ethos to this day. These connections fostered the kind of cultural exchanges that shaped the Maison’s design process, which is progressive yet grounded in the artistic heritage of its discerning clientele. Those values allow Cartier to evolve in step with society, as asserts the brand’s motto: “Always innovate, never imitate.” It reflects the jeweller’s deep-rooted respect for international culture and its celebration of the rich artistic heritage of places like Egypt, India and China. These have inspired its most iconic geometric, colourful and boldly modern styles — most notably, the Art Deco works, shown here in all their glittering glory. “One thing that we are very proud to have done in this exhibition,” said Rachel Garrahan, co-curator of the exhibition alongside Helen Molesworth, “is leading a fil rouge of London through the story of Cartier, where we see highlights that include jewels from the Royal Family.” From coronation tiaras from the 1930s (never as many made before or since by the brand) to Tank watches from Swinging Sixties London, Cartier’s savoir-faire has shaped British culture in every turn. This is a display of brilliance, both literal and metaphorical. 10 years in the making, the show offers insight and context for the influential power that is Cartier. Each piece reflects not only craftsmanship, but the lives and moments that made it matter, bringing Cartier’s legacy into sharp, human focus. The exhibition Cartier runs at V&A South Kensington from 12 April 2025 – 16 November 2025.  Link: Tickets available at vam.ac.uk/exhibitions/cartier