Fashion Articles

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

The Movement Director Injecting Fashion with Dynamism, An Interview with Yagamoto text Saffie photography Campbell Addyimage courtesy Jaguar If you are a fashion aficionado like me, few things excite you more than experiencing that fandom in new, imaginative ways. The rise of movement directors (or choreographers, for the uninitiated) over the past few years has reignited the industry’s appreciation for the kind of theatricality that made runway moments from the ‘90s and early ‘00s so iconic. From Shalom Harlow getting spray-painted by robots at Alexander McQueen’s 1999 presentation to Leon Dame’s angry stomp for Maison Margiela on the 2020 catwalk, it appears that the pendulum has swung back to fashion as performance — and we’re all better for it. One creative spearheading this shift is Abdourahman Njie, also known as Yagamoto. His emotive, cinematic campaigns — shaped by a background in performance art, modelling and his Senegalese-Gambian heritage — have brought a fresh sensibility to his collaborations with Pharrell Williams x Adidas, Louis Vuitton, Off-White and British Vogue, among others.Here, the multidisciplinary artist shares insights into his creative process, sources of inspiration and ambitions for the future. Maya Avram: You’re part of a growing cohort of choreographers who help design fashion’s narrative. How did you start your movement director journey?Yagamoto: My journey in movement started early on, when I was studying performance art in high school. That initial spark led me to explore the medium further in college, where I also experimented with method acting, physical theatre and improvisation. Eventually, I pivoted away from academia as I realised its structure didn’t align with my creative rhythm. Fortunately, soon after that I was scouted and signed by a modelling agency, which was a real turning point and reaffirmed my path in the creative industries. MA: Movement directors have become indispensable in fashion storytelling, transcending mediums. How do you adapt your work to different channels, from music videos to print editorials?Y: To answer that, I need to give context around how my methodology was formed.Early in my career I made a conscious decision to distance myself from the wider movement community, including my peers. This intentional isolation wasn’t out of disregard, but out of deep respect for the craft and a desire to develop a unique voice. I became highly selective about what I consumed, choosing not to follow others or compare paths so I could focus inward and develop my own methodology. Freeing up that space allowed me to root my perspective in intuition rather than external influence.The method that emerged is called MOTO, and it encourages artists to engage fully with every creative component on set — from the textures and materials of clothes to the nuances of hair and makeup to the atmosphere shaped by set design. It draws on character embodiment and incorporates elements of method acting to deepen presence and connection.And so, when creating ‘Impermanence’ with Campbell Addy for Miami Artweek, every element became a tool that shaped the character and constructed the narrative. It’s a holistic, intuitive approach to movement direction that transforms the set into a living, breathing extension of the performance. MA: Having worked both in front and behind the camera, which is your favourite?Y: Whether I’m directing or modelling, I’m happiest on set when there’s a real sense of creative harmony flowing through the production. It’s magical when every element — direction, client vision, lighting, hair and makeup, styling — aligns effortlessly.‘Impermanence’ is the perfect example of that. It was created by a team of close friends and collaborators, each bringing their best and making the process feel organic and fluid. That dynamic fostered a lively atmosphere where art could thrive and the work truly came alive. MA: How do you prepare for a project? What does the creation process look like?Y: Research and response are the pillars of my process. Once I receive a creative brief, I study the vision. If needed, I dive deep into research, collecting visual references, exploring themes and movement languages that can help enrich the creative direction.When creating ‘Impermanence’, Campbell Addy and I were inspired by Jaguar’s transition into a new era, so we drew a lot of inspiration from reincarnation and rebirth. My goal is always to offer a thoughtful, informed response that not only aligns with the original concept, but also evolves it. MA: When working with talent, what do you look to get out of their performances? How do you create a common language with your team?Y: When meeting talent, my priority is to establish a warm, professional dynamic rooted in mutual respect and openness. From the outset, I make it clear that when working with me, they are stepping into a psychologically and creatively safe space. I am fully open to collaboration and committed to bringing out the best in them.That introduction helps trust form naturally, laying a solid foundation for confidence to grow. I emphasise that vulnerability is not just accepted, but encouraged, and there is no such thing as doing something “incorrectly.” Every choice, every movement is part of the process, and it’s in that freedom that authentic expression can truly emerge. MA: You have worked with some of the biggest names and brands in the business, from Naomi Campbell to Dior. What is your next dream project?Y: I’m a big believer in the magic of manifestation. Every job, every moment that’s found its way to me started as a quiet dream whispered to the universe, and, piece by piece, those dreams have become my reality. There’s an endless stream of visions still unfolding, but I like to keep them secret until they’re ready to bloom. The universe is always listening, and trust me — there’s an infinite wave of k like?Y: Research and response are the pillars of my process. Once I receive a creative brief, I study the vision. If needed, I dive deep into research, collecting visual references, exploring themes and movement languages that can help enrich the creative direction.When creating ‘Impermanence’, Campbell Addy and I were inspired by Jaguar’s transition into a new era, so we

Paris Fashion Week: A Star-Studded Chanel Affair text Jahwanna Berglund As the grand doors of the Grand Palais swung open, anticipation filled the air. This season, Chanel’s creation studio took center stage, unveiling a collection that redefined the house’s codes with imagination and precision. The runway wasn’t just about fashion; it was a cultural moment—where heritage met modernity, and celebrities became part of the spectacle.From Dakota Fanning’s effortless Parisian chic to South African singer Tyla’s bold Barbie-pink tweed look, the front row was a testament to Chanel’s cross-generational and global appeal. Icons like Naomi Campbell, Jessica Alba, Charlotte Casiraghi, Riley Keough, Peggy Gou, and Wang Yibo—each with their own distinctive style—brought their own interpretation of the maison’s signature elegance. The collection itself played with opposites—masculine versus feminine, structured versus fluid. Bows, pearls, and layers—hallmarks of Chanel’s legacy—were reimagined with playful audacity. Oversized satin bows cascaded from shoulders, while single pearl-heeled shoes became an instant must-have. Diaphanous capes in illusion tulle floated down the runway, juxtaposed against sharp, structured tweed suits in champagne, black, and crisp white.Whitney Peak, Chanel’s first Black fragrance ambassador, embodied the maison’s contemporary spirit, arriving in a structured tweed blazer with an unexpected edge. Meanwhile, Naomi Campbell, always a force in fashion, reflected on the industry’s evolution, bringing a sense of history and purpose to the evening. Chanel has always had a gravitational pull on the fashion and entertainment elite, but this show felt particularly magnetic. Tyla, in her meticulously curated pink tweed co-ord set and layers of Chanel jewelry, described her look as “classic rich Chanel girl”—a phrase that perfectly captured the collection’s balance between tradition and youthful irreverence.The front row was more than just a lineup of famous faces; it was a reflection of Chanel’s enduring cultural influence. Jessica Alba exuded polished elegance, Charlotte Casiraghi carried herself with quiet regality, and Wang Yibo brought a cool, modern sensibility. Each guest added to the narrative that Chanel is not just a fashion house—it’s a symbol of self-expression. As the final look—a breathtaking layered creation—glided down the runway, it was clear that Chanel’s creation studio had masterfully reimagined the brand’s legacy. More than just a seasonal offering, this collection was a statement of evolution—proving that Chanel is always evolving, yet always unmistakably Chanel.As the fashion world spilled out into the Parisian night, one thing was certain: Paris Fashion Week may be star-studded, but at Chanel, the true magic is always in the details. www.chanel.com Chanel’s enduring cultural influence. Jessica Alba exuded polished elegance, Charlotte Casiraghi carried herself with quiet regality, and Wang Yibo brought a cool, modern sensibility. Each guest added to the narrative that Chanel is not just a fashion house—it’s a symbol of self-expression. As the final look—a breathtaking layered creation—glided down the runway, it was clear that Chanel’s creation studio had masterfully reimagined the brand’s legacy. More than just a seasonal offering, this collection was a statement of evolution—proving that Chanel is always evolving, yet always unmistakably Chanel.As the fashion world spilled out into the Parisian night, one thing was certain: Paris Fashion Week may be star-studded, but at Chanel, the true magic is always in the details. www.chanel.com

Between Girlhood and Apocalypse: An Interview with Hanna Nordenhök Ulrika Lindqvist With a voice both poetic and political, Swedish writer Hanna Nordenhök crafts novels that explore power, language, and the dark undercurrents of human systems. In this conversation, she reflects on translation as a form of haunting, the aesthetic of surfaces, and why fiction may be the last refuge for truth in a post-post-truth world. Ulrika Lindqvist: Caesaria was originally published in Swedish in 2020 and only last year released in English translation. How did it feel to see your work reach a new audience, four years later and in a different language? Hanna Nordenhök: The mesmerizing experience of travelling with one’s words – that of which being translated consists – is a rare gift not given to all authors, and I am deeply grateful for the translations of Caesaria that’s been made so far: the English and the Spanish one’s as well as the upcoming Portuguese and French. That a novel like Caesaria, with its peculiar universe and very Nordic setting and rural landscape, would reach Mexican, Chilean, Canadian, British, Brazilian and French readers was a surprise. And another thing about being translated is of course that it gives you the sometimes wonderful, sometimes horrific, opportunity or obligation to revisit your earlier writing. With her translations Caesaria keeps travelling with me even though I created her more than six years ago, which means I cannot avoid her: I need to face the reasons why I wrote her and felt the necessity of creating her world exactly like that, and not in another shape or expression. UL: Were you involved in selecting Saskia Vogel as the translator for Caesaria? If so, what drew you to her as a collaborator, and how would you describe your relationship to the translation process? HN: Actually it was the other way around: it was Saskia Vogel that found her way to Caesaria. Which means it was partly thanks to her that the book was published in the UK and Canada. And to have Saskia as a partner in crime and literary creation is pure joy, a wonderful human being and a brilliant translator – I consider myself very lucky. The fact that Saskia, much like myself, also possess the interesting, ambivalent and deeply enriching artistic position of being both author and translator, is another dimension to it that I really cherish being in dialogue with. With her I have an ongoing meandering conversation on writing and translating, but also on Birgitta Trotzig, kids, life, the experience and memory of girlhood as a never-ceasing source of knowledge about this dark and surreal world… As I said: pure joy. UL: What initially sparked the idea for Caesaria? Were there particular events, images, or questions that guided you during the writing process? HN: The spark for Caesaria was a foot-note I found in a dissertation in history of ideas, that I was reading as part of my research for another novel, Asparna from 2017, where I explored 19thCentury reformatory detention centers and institutional violence against “savage children”, that is, criminal or anti-social low-class children that were subjected to the disciplinary system of that very emblematic epoch. This dissertation, though, dug into the history of Swedish gynecology, obstetrics and medical science on woman diseases, also during late 19th Century. And in that little foot-note I found the story of a girl born in 1862 through the first Caesarian section made in the city hospital of Uppsala by one of the pioneers in the field, a well-known doctor that operated on a poor, single woman who died after a couple of days: the orphaned girl was then named Caesaria by this very doctor, after the cut that brought her to life. I found this story so compelling and macabre, full of interesting aspects of power and powerlessness that had to do with class society as well as the male scientific gaze at the time that has shaped notions and fantasies on woman and women bodies prevailing up until our days. Around the real case Caesaria my own fictitious Ceasaria started to take shape in my head, she awoke so many thoughts on girlhood in patriarchy that I needed to explore. The fact that my work with the novel also took place while the first waves of the #metoomovement started to burst out was, of course, another contributingfactor, that in writing it formed a necessary bridge between history and present. UL: In your latest novel, Underlandet (Wonderland), you shift from the historical settings of your earlier works to a contemporary environment. How did that change affect your writing? Did you experience the creative process differently? HN: I find that I, in all of my novels to some extent, have been exploring zeitgeists, that is, certain epochs fashion of thoughts, political agendas, ideology productions and dominant ideas on what it means to be human or not – and how life takes shape inside different systems of selection and de-humanization. Who is cared for and who is abandoned or exploited in such systems?, has been a recurring question for me in my writing. In that sense, I feel there is little or none difference between my historical fiction and Wonderland, a novel that also, to me, very much consists in an exploration on the spirit of our times – or maybe more correctly the spirit of post-truth society that has led up to the moment we’re living right now: a post-post-truth world where all masks have fallen and what we see is pure violence, the shameless and non-disguised rise of fascism all over the planet. Which will be interesting to dwell upon when the Polish and Spanish translations of Wonderland will be published this fall. But maybe I’d rather describe the shift between historical fiction and contemporary fiction in my writing as a shift, or even connection, between past and apocalypse. For me it has been the same desire or compulsion to understand our existence that’s led me intohistorical settings and more contemporary ones. The bridge, I would say, is this sense of apocalypse – both as a revelation of a disastrous future or of those hidden undercurrents that rule our

Felix von Bahder on Deadwood’s PS26: “Beauty in the Breakdown” text Ulrika Lindqvist Ulrika Lindqvist: Please tell us about the process of creating the PS26 runway show? Felix von Bahder: I started with a question: What does it feel like to land in a city that’s pulsing faster than your own heartbeat? Or to face a technology so alien that it makes you feel completely free and completely lost at the same time? From there we put together a mood-board of late-night escalators, neon-tinged rain, cords and cables forming an electric mess. We built the show like a mixtape: eclectic, raw and personal. Actually, the whole process for this collection was anchored in music. Guess it always is for us. Lately a lot of goth, new romance and industrial stuff from the 80’s and early 90’s. UL: How did you choose the location for the runway show? FvB:Stockholm’s Parkaden parking house is a concrete cathedral six stories above street noise, a brutalist icon by Hans Asplund and one of those buildings that, once you notice it, can never be unseen. We wanted to create a tranquil, almost sacred space for the audience, an oasis smack in the heart the city’s buzz. Perfect for a story about disorientation and underground salvation. UL: What does the PS26 collection represent and what was the main inspiration for this collection? FvB:It’s a love letter to outsiders who arrive in the metropolis and get swallowed by its circuitry. It’s also a cautionary tale of the seduction of technology and its dubious promise of liberation. We wanted to capture the allure of the big city, both the glitz and the gritty. Black leather, patch-worked from some past collections. Re-cut vintage tees worn underneath exaggerated faux fur pieces. Sensual snake lace next to scuffed denim. I wanted to take the collection into the comfort of basement venues where the misfits find each other, and the lights are always red. Ulrika Lindqvist: What was the biggest challenge creating your PS26 collection? FvB: Time. Joining Stockholm Fashion Week was not really our plan, but when we got asked, we simply could not resist a homecoming! But what were we going to show? We were already doing SS26 in Copenhagen in August, and we couldn’t present the same stuff twice! So, we figured we had to create a brand new chapter to the story in just under 2 months. Pushing our up-cycling methods to the limit, which means hunting, cutting, and re-aligning many pieces into a few coherent silhouettes, the studio was a creative chaos! But it all worked out in the end! UL: What is your approach to showpieces, how much of the show is showpieces? FvB: Normally, Deadwood garments are made to be worn and loved. But sometimes we like to drive home an idea or a concept with one-off showpieces, who’s main purpose is to ask questions or provoke emotions. But from the PS26 show I’d say all looks will make it into production, although some in pretty small numbers. Some of the vintage-tee concepts will be tweaked to make them more producible at scale. That’s it. UL: How would you describe the Deadwood customer FvB: Deadwood is for music lovers, however genre-fluid. Age, gender, passport stamps, none of that matters. We’re a group of humans that value things that last, and celebrate scars that tell stories. Ulrika Lindqvist: What can we expect from Deadwood in the future? FvB: More risk, same conviction. We’re doubling down on circular and next-gen materials, breathing some new life in our mycelium project, and plotting a few pretty cool collaborations. The second chapter of this collection, which we will present in Copenhagen, dives deeper into that existential thin-ice space where mankind and machines collide. I’ve been looking forward to this one for a long time now. After that, I’m going sailing or something, haha.

necklace Izabel Display photography Sandra Myhrberg fashion Jahwanna Berglund hair and makeup Elva Ahlbin an interview withVinchy Chan textMaya Avram While creative talent and a discerning eye are stable stakes to succeeding in fashion, strategy is equally crucial to establishing a sustainable career — and one most industry players unfortunately lack. One reason is that fashion designers are becoming increasingly individualistic, and consequently, reluctant to ask for support. This starts as early as fashion school, where educators encourage emerging talent to see themselves as bitter competitors rather than potential collaborators; it goes on to impact small-scale businesses who can’t seem to handle their admin (cult-favourites like Y/Project, Christopher Kane and The Vampire’s Wife have been forced to shut down in recent years.) garment by’s premise, therefore, is a simple yet promising one: entrust the business side of things to the startup’s co-founders, former Strategy Consultant Vinchy Chan and Operations Officer Ana Ciobanu, and focus instead on designing the ‘Icons’, the platform’s range of timeless clothing essentials. Each Icon piece is created with consideration of research data and insight, and ethically produced by garment by’s network of vetted suppliers and manufacturers in China. The result? A thoughtful collection of bespoke garments meant to last a lifetime. I caught up with Chan ahead of the spring launch of the ‘Love Shirt’, celebrating the noblest emotion of all. MA: What does your development process look like, and how does it challenge those systems? VC: One of the biggest problems of the current system is overstock. Stock is planned and produced usually a year ahead, and at the six-month mark, you need to put in orders with your sourcing and production partners, which many brands do without any insight or data. So they often overproduce and create merchandise that is killing their business. 70 per cent of designer labels’ cash gets tied up in stock they never know if they’ll be able to sell. That cost is priced in for consumers — ever wonder why a designer shirt costs £800? Imagine if we didn’t have to pay that premium. You could shave 30 to 50 per cent off the buying price, which is great for consumers in this economic downturn. Not to mention that stock is the biggest environmental polluter, with 30 per cent of overstock going to landfill. Consumers nowadays are more and more aware of those issues and the impact of their buying behaviours. That’s why we adopted an on-demand model, to empower designer labels to only produce what’s sold. We are now able to deliver the product within four weeks, but hopefully, with tech and data innovation, we will eventually be able to deliver it within two weeks. Maya Avram: This issue’s theme is ‘Alchemy of Fates,’ or how we break down conforms to build something new that realigns us with the right path. Do you feel that resonates with garment by’s mission? Vichy Chan: 100 per cent. As an outsider to fashion, I see things with a fresh perspective, including practices that don’t serve us anymore. I respect that big brands have to make sure, in this downturn, that they can protect their revenue in line with the matrixes they know are going to sell, but that is just adhering to conform. It tells us that fashion is about creativity, but also that there are many implicit rules. As a business, garment by is ready to break away from those rules and those legacy systems that don’t serve us anymore. MA: How do you find the designers you work with? VC: There’s an urgency to our mission because the whole idea was to create a business infrastructure to help designers create core collections. We targeted designers who sadly had to close down their businesses in recent years but whose respective communities are craving for their comeback. Our ultimate goal, though, is to engage a bigger pool of designers, whether it is an emergent designer or a more established designer, award-winning designers or household names. We are ready to connect. MA: How did you come to create the Icon collection? VC: The Icon collection came from market insight. We are looking into each clothing category and finding that offering gap; whether it is a product feature, a style, the wearer’s experience or the pricing. And through that data, you ensure the commerciality and practicality of the clothes before you even go into production. When we talk to designers, they really appreciate that insight because they often lack the bandwidth to think about what can sell that also intersects with what they enjoy designing. MA: Is there an active dialogue between you and the designers? How much of the relationship is a push-pull? VC: We come from a very consumer insight-driven background and try to bring that value to the designers and co-create those pieces together. Before even going to production, we make sure that we have good enough learning, and keep building upon it. After we created the first iteration of our first Icon [a lush wool and cashmere blend coat — MA], we realised the fabric we sourced didn’t meet the needs of our consumers. So we quickly iterated a second version using a new fabric because we knew there was an unmet need there. This way of working was anchored in when I worked in product innovation but lacked in fashion. When the orders came through they all fit that exact persona, which was a nice surprise, but we still have a lot to do to understand them in a more nuanced way. Our on-demand model is quite new to this target audience, and we are still on a journey to make this the norm to shop good quality, unique designer items, and scale it to more audiences that could buy with us in the future. MA: Would you say you’re on a constant learning curve? What lessons have you learnt from the Icon coat launch, and what questions are still left unanswered? VC: The most important thing we learnt from the launch was