Fashion Articles

In the Weave of Creation: Four Designers on Fashion, Nature and Norrviken Written by Natalia Muntean On August 6th, Norrvikens trädgårdar in Båstad opened In the Weave of Creation, an exhibition where nature and fashion intertwine. Four of Sweden’s most boundary-pushing designers, Bea Szenfeld, Frida Jonsvens, Linnéa Samia Khalil and Martin Bergström, have each transformed the gardens into a living canvas. Their works, created in dialogue with the surroundings, invite visitors to reflect on fleetingness, sustainability and the interplay between the cultivated and the wild. Discover more about the artists’ inspirations, processes and the stories woven into their creations. Bea Szenfeld Natalia Muntean: You call paper “nature’s material.” How did the gardens inspire your paper sculptures this time?Bea Szenfeld: My work both blends into and contrasts with the natural surroundings. I consciously work with materials, shapes, and colours that either draw inspiration from nature or break away from it – to raise questions about our relationship with the environment. My artistry is not only about aesthetics but also about dialogue — between the artificial and the organic, the temporary and the enduring. I want the viewer to pause and reflect on what is natural, what we take for granted, and how human imprints alter the landscape over time. By placing the works in direct relation to the surroundings, new layers of meaning emerge that can only be experienced on site. NM: Your works look delicate, but last outdoors. How do you make paper withstand the garden setting?BS: My sculptures can be taken outdoors, if absolutely necessary. However, it’s not something I prefer or recommend. Some of my works can’t even withstand wind, and definitely not rain. NM: You say you “listen to nature’s voice.” Did any specific spot in Norrviken speak to you?BS: Norrviken is a place where nature and human care meet in harmony. The gardens carry a history of vision and a longing for beauty, but also for order within chaos. That inspires me. I like Norrviken because it’s a place where every detail feels intentional, yet nature is still allowed to breathe freely. There is time here. Silence. And a kind of breathing space for both visitors and ideas. One place I often pause at is the mirror pond where the world is turned upside down. The surface is still, but beneath it, life moves. Sometimes I catch a glimpse of a salamander, quiet and almost primaeval, like a living fragment of something we’ve nearly forgotten we share the world with. NM: What should visitors notice about how your pieces interact with the natural surroundings?BS: What happens when ‘nature’ becomes an excerpt from an archive, a glossy photograph, a word without a body. A field that has never carried a scent. Without nature present around us — in sound, in smell, in change — the direct experience is lost. We can read about trees, see pictures of clouds, listen to old recordings of birdsong, but we won’t feel them. Without contact, understanding dies. And without understanding, memory dies. Perhaps one day in the future, someone will hold up a plastic model of a flower and call it nature. Perhaps nature will become something mysterious, mythological, the way we now think of extinct species or ancient ruins. That is why we must preserve not just the physical landscape, but also our living relationship with it. So that the future will not only know what nature was, but still be able to experience it. Frida Jonsvens Natalia Muntean: Your designs reuse forgotten materials. What surprising things did you repurpose for this exhibition?Frida Jonsvens: When the imagination is allowed to roam freely, there are no limits. Curtains have become flower petals, and crystal chandeliers have turned into pistils. For this particular exhibition, I’ve thoroughly searched second-hand shops all over Sweden and found eight vintage crystal chandeliers, which I carefully dismantled by hand, one by one. I then worked with a total of 64 old curtains, cutting them into thousands of flower petals and using them to create flowers. NM: The gardens blend wild and designed areas. How does your work reflect this mix?FJ: My flower cloak represents the wild. Each petal is unique, handcrafted from repurposed curtains and crystal chandeliers. What was once loved, forgotten, or discarded is allowed to bloom freely once more. Beneath the cloak rests a shimmering crystal dress, inspired by the architecture of the Victoria House. Together, they form a poetic whole – Norrviken expressed through fabric, colour, and light. The piece is a tribute to nature, to the beauty we already have, and to the art of seeing value where others see waste. NM: You talk about “blooming beauty.” Which flowers inspired your designs?FJ: All of them! I’ve truly been inspired by the entire garden’s colour and form. NM: How do your voluminous shapes connect to the garden’s natural forms?FJ: That’s exactly what I see in the garden as well. For example, Norrviken’s magnificent rhododendrons carry volume in an absolutely stunning and inspiring way.  Linnéa Samia Khalil Natalia Muntean: You challenge traditional silhouettes. How did the gardens’ natural shapes inspire your designs?Linnéa Samia Khalil: I love it when something imperfect can still be beautiful and captivating. Just like nature, dynamic, organic, and irregular. Creating something where you’re led forward by the process itself, shaping the lines as the creation unfolds, you can’t replicate it, and no curve is ever the same. That’s something I find incredibly fun and fascinating to work with. NM: Your clothes “tell stories.” What story do these garden pieces tell?LSK: The piece I’m creating for Norrviken is all about the unpredictable. The twists you didn’t see coming. The meeting of softness and hardness. The organic. NM: How did creating work in this natural setting push your creative boundaries?LSK: It’s been a challenge to create this piece precisely because there are no rules or frames to lean on. Planning or sketching didn’t work, since every curve and every part of the creation was shaped in the moment. And being limited to the materials I had set aside for this project has also been demanding. Early

Michael Rider Marks His Arrival at Celine with Printemps 2026 Written by Jahwanna Berglund The first campaign under Michael Rider’s creative direction at Celine has arrived, and it is nothing short of a statement. Shot by Zoë Ghertner, the Printemps 2026 campaign introduces Rider’s vision for the house with a cool precision, leaning into intimacy rather than spectacle. Kylie and Victoria, who both walked the Paris show in July, return as the campaign’s protagonists embodying Rider’s debut with a stripped-back elegance. At its heart lies the rebirth of an icon: the Luggage. Originally launched over a decade ago, the silhouette now returns as the New Luggage, unveiled on Rider’s debut runway and carried into the campaign as a centerpiece. The standout detail, the so-called “Smile Variation,” lends the bag a subtle playfulness that balances Celine’s reputation for understatement. The New Luggage is offered in supple, shiny lambskin across black, tan, citrus, oxide blue, and deep brown, alongside suede calfskin in beige and exotic Porosus crocodile in rich tones of black and chocolate. Oversized east–west shapes sit alongside smaller formats, each defined by versatility and Rider’s attention to construction and texture. The first drop, featuring the “Smile Variation,” will pre-launch at the end of September on celine.com and in select stores, before the full collection lands worldwide in mid-November. For Rider, stepping into Hedi Slimane’s shadow might have been daunting. Yet his first campaign suggests a different rhythm: less about a clean break, more about layering heritage with a modern sensibility. If Slimane’s Celine was razor-sharp and restless, Rider’s debut hints at a quieter confident one that extends the conversation between past and present without losing its edge.

Between the Thread: A Conversation with Saveja Awzel text by Janae McIntosh Saveja first caught the eye of fashion around seven. Her mother, a fashion designer herself, inspired Saveja to fulfill the dream. A kid, Saveja would sneak into her mother’s workspace to use her sewing machine, loving the sound and feeling of stitching. Fashion became Saveja’s escape from reality, and through this creative, unique, and beautiful space she built, Saveja made her aspirations into existence. As her career grew, Saveja held onto the special feeling of endless possibilities and opportunity to spread a message beyond her work.“I didn’t just want to wear fashion, I wanted to create it, shape it, and give it meaning”. Janae: What’s the collection you are most proud of?Saveja: The collection I’m most proud of is called Lost On Silk Road. It’s a timeline frozen in textures and colors — a crossroads between modernity and tradition. The concept comes from tales about the Silk Road I heard as a child, now reimagined through the lens of my everyday life as a Scandinavian. The Silk Road, this meeting point of cultures and history, is more than just a metaphor — it’s my reality. I’m Uyghur, born in China, and a Swedish citizen.This collection is an inner journey — a return to my origins, but also a construction of a new identity that embraces all the cultures I represent. It’s deeply personal, yet globally resonant. Through design, I’ve created space for all parts of myself to exist and evolve. J: What is something you wish you knew earlier in your career?S: I wish I had understood sooner that clarity is power — especially in business. Creativity thrives with direction. As a designer, it’s easy to pour everything into the work and overlook structure, but building a brand requires both vision and systems. Once I leaned into that balance, things began to move with intention. J: What is one piece of advice you received that stuck with you and helped you grow as a fashion designer?S: When I was 15, one of my teachers told me: “Never say that you dream of achieving something — always see it as a goal, and you’re already one step closer.” That changed everything for me. It made me take myself seriously, even when others didn’t. It gave me the confidence to treat my ambitions not as fantasies, but as steps on a path I was already walking. J: How would you define your style?S: My style is paradoxical and sexy, with a hint of mystery. I’m drawn to contrasts — soft structure, refined boldness, the mix of old-world symbolism with modern silhouettes. I think there’s power in restraint, but also in unexpected detail. It’s not about being loud — it’s about being intentional. My work is rooted in culture and identity, but always seen through a contemporary lens J: Having moved to Sweden from China at the age of 18, what was the culture shock like? What stood out to you most about Swedish culture?S: Definitely the minimalistic aesthetic. When it comes to fashion, Sweden is quite the opposite of China. There are two distinct styles here: one very minimalistic — it can be just a pair of plain trousers and a T-shirt — while more fashionable people tend to go extreme, even cartoonish, with outfits that have so much detail. J: How does that experience inform your creative process? Where do you draw inspiration from?S: That has been interesting, it has given me, like, a lot of access to different inspiration. I’ve realised while creating my graduation collection that I make a lot of references to the cultures I have lived in. They make up my identity, both personally and professionally. In China, we deeply believe in symbolism; whether it be colours, the food you eat, even numbers and the weather, and that has been very interesting for me to put into my designs. The shape of a pocket or other small details allows me to put all the symbols into the clothing. J: Symbolism clearly plays an important role in your creative process. What other elements of Chinese culture have you tied into your designs?S: Symbolism for me, when I look back, is a lot of different things, from the food to the culture and the language; the characters I can write and read in Mandarin inspire me, seeing their shapes and how the Chinese symbols look. J: What are you excited about in the future? Is there anything you can share, exciting projects you’re currently working on?S: I’m launching my brand this autumn, which is very exciting. We’re starting with handbags, the production is all ready. So it’s super exciting. Other than that, I  started working for Alice Stanlouv, the Swedish influencer. We’re working on a rebrand, and we’re launching a whole new collection this fall as well. So I’m launching my own brand and her rebrand, too! photography Sandra Myhrbergfashion Ulrika Lindqvistmakeup and hair Elva Ahlbinmodel Luca Myhrberg

sania d’mina Debuts in Nordiska Kompaniet’s Iconic Ljusgården Written by Jahwanna Berglund Swedish shoe brand sania d’mina is marking a new milestone with a striking presentation at Nordiska Kompaniet’s Ljusgården in Stockholm. The pop-up invited visitors into founder and designer Sania Claus Demina’s world, where Italian craftsmanship meets timeless elegance and contemporary comfort.
 The immersive setting designed by Daniel Kutlesovski, with photography by Erik Lefvander and creative production by Caroline Nyström—translated Demina’s personal vision into a refined environment that mirrors the brand’s DNA.
 “For sania d’mina to take place in NK’s Ljusgården is a dream come true. I’ve carried this vision for a long time, and being able to invite people into our universe here feels like a milestone, both personally and for the brand,” says Sania Claus Demina.
 Founded in 2018, sania d’mina was born out of Demina’s lifelong fascination with shoes and her relentless pursuit of the perfect balance between comfort and style. Since then, the brand has evolved into a symbol of uncompromising quality and timeless design creating shoes that are flattering, elegant, and a joy to wear.
 While the NK pop-up was live September 11–14, 2025, those who missed it can still experience the world of sania d’mina by booking private appointments at the brand’s Stockholm showroom.

Evolving Times – Dr. Denim Autumn/Winter 2025 text Natalia Muntean Denim has always been more than fabric. It’s memory stitched into cotton, the sound of youth in motion, the feeling of belonging to a generation yet entirely your own. Few garments carry such a quiet universality, and yet such potential for reinvention. With their Autumn/Winter 2025 collection, Dr. Denim leans into this paradox of timelessness and evolution. The brand, rooted in Gothenburg’s mix of raw industry and creative independence, presents a season that feels familiar yet subtly restless, always in search of the next shape, the next shade, the next story. Classic silhouettes reappear, but never unchanged. The Dash jean remains a loyal companion, while newer fits like Omar and Donna embrace wide, relaxed volumes. Washes, too, tell their own tale: a pared-back rinse wash designed with low environmental impact sits alongside the audacious Stream Riot, a spectrum of colour that feels almost like denim in conversation with light. For women, the introduction of Ary, with its bold, straight cut and Nanci, a modern barrel fit, add dimension to the already beloved Echo. The newcomer Rhue, with its soft flare, seems to nod to the past while insisting on the present. Together, they create a vocabulary of shapes that speak to individuality without losing the Dr. Denim DNA. But denim is only part of the narrative. Jersey takes on a new subtlety this season, with hoodies and crewnecks marked by a discreet embroidered “Dr. Denim Scribble” a gesture that feels almost like handwriting, intimate and understated. Knitwear, meanwhile, becomes a laboratory for texture, experimenting with yarn and technique to create pieces that carry both ease and expression.www.drdenim.com

FLOSO: Designing a Future Rooted in the Past Written by Ulrika Lindqvist Founded by Ariel Zixin, FLOSO is a studio built on the belief that heritage and sustainability can coexist,  not as opposites, but as allies. With a deep reverence for historic fabrics like Loden wool and Tea silk, Zixin creates garments that marry timeless design with contemporary function. In this interview, the designer shares the philosophy behind FLOSO, the textures that inspire her, and the quiet power of clothes made to last. Ulrika Lindqvist: How long have you been designing, and what inspired you? Ariel Zixin: I’ve been designing for over ten years. It began with a visceral draw to heritage fabrics, materials with stories woven into them. Loden wool and Tea silk, in particular, captivated me with their history and durability. I wanted to resurrect that spirit instead of simply recycling trends. UL:  What drove you to found FLOSO? AZ: I wanted to build a space that went beyond fashion. FLOSO is about reviving heritage textiles with honesty and intention. It means creating pieces that respect the past while serving the present. UL:  How do you choose which materials to work with? AZ: Material selection is everything. We look first for durability, natural beauty, and environmental integrity. Loden wool, for example, is wind resistant, water repellent, and breathable. Tea silk has a structured drape and luminous sheen, thanks to plant-based dyeing and river mud finishing. These fabrics bring rich texture and timeless performance, making them our foundation. UL: Can you walk us through a typical workday for you? Founded by Ariel Zixin, FLOSO is a studio built on the belief that heritage and sustainability can coexist,  not as opposites, but as allies. With a deep reverence for historic fabrics like Loden wool and Tea silk, Zixin creates garments that marry timeless design with contemporary function. In this interview, the designer shares the philosophy behind FLOSO, the textures that inspire her, and the quiet power of clothes made to last. Ulrika Lindqvist: How long have you been designing, and what inspired you? Ariel Zixin: I’ve been designing for over ten years. It began with a visceral draw to heritage fabrics, materials with stories woven into them. Loden wool and Tea silk, in particular, captivated me with their history and durability. I wanted to resurrect that spirit instead of simply recycling trends. UL:  What drove you to found FLOSO? AZ: I wanted to build a space that went beyond fashion. FLOSO is about reviving heritage textiles with honesty and intention. It means creating pieces that respect the past while serving the present. UL:  How do you choose which materials to work with? AZ: Material selection is everything. We look first for durability, natural beauty, and environmental integrity. Loden wool, for example, is wind resistant, water repellent, and breathable. Tea silk has a structured drape and luminous sheen, thanks to plant-based dyeing and river mud finishing. These fabrics bring rich texture and timeless performance, making them our foundation. UL: Can you walk us through a typical workday for you? AZ: My day starts with a morning workout. It clears my mind and energizes my body, often sparking new ideas. At the studio in Birkastan, I explore fabrics and samples, letting texture guide the creative process. I connect with our production team via Zoom to confirm details. When clients visit, I walk them through fittings, offer styling advice, and finalize custom pieces with the right fabric and design. UL:  What is your favorite piece from the current collection? AZ: I’m especially fond of the Loden Wool overcoat from our Autumn/Winter collection. It has a clean, strong silhouette and all the qualities I value, including protection from the elements, breathability, and understated elegance. It perfectly embodies FLOSO’s blend of function, refinement, and longevity. UL:  What would you say are the 3 core values of FLOSO? AZ:  Heritage and Craftsmanship: Reviving time-honored fabrics and traditional techniques. Sustainability and slow fashion: Made-to-order pieces with chemical-free materials and minimal waste. Timeless Design: Classic silhouettes with subtle personalizations that outlast trends. UL:  How would you describe the FLOSO customer? AZ: Our customer appreciates quiet luxury as an alternative to fast fashion. They look for pieces with fabric that feels alive, such as the dense warmth of Loden or the soft luster of Tea silk, cut with precision and made transparently. They value garments that grow more beautiful over time rather than faster. UL: Tell us a memorable moment from your journey with FLOSO. AZ: One of the most memorable moments was the launch event at our Birkastan showroom. A longtime customer told me, “I don’t just wear your clothes. I live in them.” Hearing that someone feels at home in a piece I helped create was incredibly rewarding. It reminded me why care and heritage matter in design. UL: What are your plans for the future of FLOSO? AZ: We plan to expand our bespoke customization, offering more natural fabrics like cashmere, linen, and cotton. We are also developing a limited-edition capsule collection that explores heritage textiles from underrepresented regions. In addition, we will host more art events that transform our showroom into a living gallery to immerse guests in the textures, sounds, and spirit of FLOSO.

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

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

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

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