Fashion Articles

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

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

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

Mats Gustafson and Ted Muehling’s journeys in Reclaiming Beauty text Ulrika Lindqvist “He was wilder than me,” jokes jewellery designer Ted Muehling about his partner referring to Mats Gustafson’s spirited early years in New York. “The city was kind of a magnet at that time. People came from everywhere,” continues Swedish illustrator Mats Gustafson about New York in the 70s, when he crossed the Atlantic in search of parties, creative freedom and himself. In the realm of both artistry and love, the influence between two individuals can be a profound and transformative force. In talking with Mats Gustafson and Ted Muehling about their beginnings as artists, their sources of inspiration, and the “Reclaiming Beauty” exhibition, I observed glimpses of this force, along with a strong sense of complicity, respect for each other’s work, tenderness and humour. The couple, who have been together since the 90s, are currently showcasing their works in a joint exhibition hosted by Millesgarden, one of Stockholm’s most famous museums. Mats Gustafson’s artistic journey began in the late 1970s. While studying set design at Dramatiska Institut, he started doing fashion illustrations on the side. It was H&M that was one of his first collaborations and he considers it to be his proper school. “We’re talking about the late 70s. They were still doing advertising with illustrations and that’s how I learnt to work fast,” he recalls. Since then, he has worked with renowned fashion brands, such as Chanel, Comme des Garcons, Yohji Yamamoto, Svenskt Tenn, Viktor & Rolf and many more. His dedication to creating with his hands and paper has set him apart as an artisan. For the past ten years, Gustafson has collaborated with Dior, creating illustrations for some of the most iconic looks of the French fashion house. “My job is to understand and depict the designer’s work. I want to find the best in it, or what I consider the best, and interpret it,” he says about his work in this world. Mats reflects on his transition into exhibiting commercial art, a departure from his usual applied art. This shift presented both a challenge and an opportunity to view his work through a different lens. “Working with applied art or commercial art works very well for me,” says Mats. “I like not having to make up my mind all the time; somebody else decides, and I appreciate that. But I think, at some point, when I had my first show, exhibiting commercial art was an unfamiliar experience. It required me to look at it differently. Is it worth looking at? It’s meant to be consumed, and especially in the fashion world, you know how fast things move.” He recognizes that every exhibition brings something new and unfamiliar. Despite his illustrious career, he confesses, “I’m still learning. I’m still inexperienced.” The AIDS epidemic represented another major turning point for his art. It influenced his desire to create more portraits and explore themes of intimacy, homosexuality, and death as a way to deal with the crisis. Amidst his enjoyment of fashion-related work, he recognised the need to delve deeper and convey more profound themes. It was during this period that he gravitated towards nudes as a means of artistic expression. “My first work out of fashion was to do nudes,” he reveals. Stripping away the clothes allowed him to embark on a new artistic path. Nudes, for him, represented the most fundamental subject to depict, opening the door to exploring other classical themes such as nature and interiors and this shift marked a transformative period in his creative evolution. Always having nature as a starting point, Ted Muehling has created jewellery and objects inspired by nature since 1976. With a major in industrial design, he was drawn to the poetic and artistic side of making functional objects. While many of his classmates were venturing into car and appliance design, Muehling had a different vision. “I preferred creating beautiful shapes that you can hold and touch,” he shared. Despite not taking a specific jewellery class, Muehling’s talent caught the attention of the head of his department, who allowed him to focus on live drawing instead of automotive designs. “He was very generous in giving me the freedom to choose interesting subjects,” Muehling reflected. He embraced a hands-on approach, working directly with the materials to truly understand their potential. “I always think architects should build a house before using a computer, just like they build a structure,” Muehling mused, highlighting the importance of hands-on exploration. He found great joy in experimenting with materials, especially in the realm of jewellery, and acknowledged the serendipitous moments that arise from such exploration. “You see what it does, and then you think, ‘Oh, that’s a good direction.’ It keeps feeding you surprising elements,” he added. The first piece he created is part of the Reclaiming Beauty exhibition and was inspired by Gingko trees found in New York. Their bright yellow leaves adorned the streets during autumn, forming captivating shapes. “I tried to interpret this shape, which could resemble a fishtail, using a long stone and created a pin hair,” he shared. Since then, Muehling has cultivated a niche following that appreciates the authenticity and simplicity his designs embody. “We represent a quieter, more authentic life,” he asserts. He describes his customers as smart women who avoid status trappings and materialism. Their search is for something deeper, a connection to their essence. Muehling’s creative journey is not just about aesthetics; it’s about balance and harmony. “The jewellery I create should be a subtle punctuation mark, an intriguing little movement, as a dear friend of mine describes it. It shouldn’t overpower or overwhelm. Finding the balance between too much and too little can be challenging, but it’s essential,” he tells me.Muehling’s path to success has been a gradual one, spanning nearly five decades. From having a few assistants to a team of 11 dedicated individuals, he has crafted a business that supports and nurtures its members. “I feel lucky to do what I love with such wonderful people,” he says.Mats Gustafson and Ted

Building a Brand with Soul: Henrik Berg on the Story Behind MORJAS Ulrika Lindqvist For Henrik Berg, founder of premium footwear label MORJAS, the magic lies in the details — not just in the shoes, but in the entire brand experience. From a Stockholm apartment stacked with boxes to a flagship store and a newly launched women’s line, Berg shares how frustration became fuel, how timelessness trumps trend, and why good design should always leave a lasting impression. Ulrika Lindqvist: Can you tell us how long you’ve been working in accessory design and what originally inspired you to pursue a career in this field?Henrik Berg: MORJAS was launched in 2017 and I worked on it 1.5-2 years before launching so I’ve been in the business for about 10 years.I’ve always been drawn to the full experience of a brand, not only product design, but the whole spectrum of the brand universe. From visual aesthetics to materials, silhouettes and packaging and so on. To me, it’s important to blend a variety of ingredients that together create a memorable taste.This has been with me since a young age, I’ve been interested in both aesthetics (furniture, architecture, art, music, style) and business and how the two worlds can interact. The two don’talways overlap naturally, but when they do, it’s really interesting.My first real career experience came from working at Maria Nila, a beauty brand where I launched the brand globally working as an Export Manager. It was stimulating to work with the full scope of brand building, from product to storytelling to customer experience. Again, the full scope of a brand is something that has remained my core since. UL: What motivated you to found MORJAS?HB: I was a frustrated customer. Period. I was a customer of high-quality shoes, but kept running into the same frustrating experience where I didn’t think that the value you received matched the price you paid – from product to brand experience. That disconnect between product and brand, price and service, became a frustration I couldn’t shake. MORJAS was born out of that tension. I wanted to create a brand that didn’t just deliver great shoes, but gave you the feeling of being taken care of, from start to finish. UL: Please tell us about the process in creating the SS25 collection.HB: SS25 is the most extensive collection we’ve released so far. We’ve focused more on casual styles this season, including sneakers and boat shoes. Every new season begins with the team sharing product ideas and design proposals. We look at the collection as a whole and ask what’s missing, what can be improved, and what adds value. We’ve always prioritised refining what we have before adding new styles. This year is no exception, with an updated boat shoe, a new deck shoe, and a complete redesign of The Trainer. UL: Can you walk us through a typical workday?HB: No day looks the same, which is part of the appeal. We’re a team of fourteen, so I stay close to most parts of the business. I hold meetings, sync with different teams, and try to carve out time for creative and strategic work. That could be researching products, outlining a new campaign, or shaping future steps. The energy at the office and the people around me are a big source of inspiration. UL: How do you view trends in the world of accessories—would you say you follow them, or goyour own way?HB: We observe trends, but we’re not driven by them. Style, to me, is separate from fashion. It lasts longer. The aim is always to create pieces that feel relevant today but still resonate in five or ten years. That’s why we spend time refining shapes, silhouettes, and materials over time. We want things to age well. UL: What is your favourite piece from the collection?HB: The Penny Loafer will always hold a special place. It was the first shoe we launched back in 2017, and still feels like the anchor of the brand. It’s traditional but distinctive, with a balance between Swedish design and Spanish soul. Right now, I’ve been wearing the new boat shoe in taupe nubuck on repeat. And once summer hits, I’ll basically live in The Espadrille and our unlined penny loafers. UL: What would you say are the three core values of MORJAS?HB: Deliver WOW. Be kind. Take action. These values shape how we operate, how we treat each other, and how we interact with customers. UL: How would you describe the MORJAS customer?HB: Curious, detail-oriented, and quietly confident. They appreciate quality, but they don’t need to shout about it. There’s a shared mindset among many of them: people who care about the small things, how something feels, how it’s made, how it’s presented — because those things say something without saying too much. UL: Please tell us a memorable moment from your journey with MORJAS?HB: There are honestly too many to mention. The first day I launched will always be a strong memory. I had about 200-250 pair of shoes from floor to ceiling in my small apartment and orders came flooding in and I had not even thought about getting a printer to print the shipping labels. So mywife ran down to the store and bought one and I kept packing like a maniac. We were very lucky to sell out the first batch in the first week which was an overwhelming response.Another one was when I and my dear friend and photographer Abraham Engelmark got our way into Italy during Covid to portray John Goldberger (AKA Auro Montanari) for his first brand story ever. It was our first major campaign and to date still one of the best we’ve done. When we opened our first flagship store in Stockholm, Casa MORJAS, in 2023 was another big moment. More recently, launching MORJAS Women has been one of the biggest milestones in our journey.Seeing the response and excitement around it has been incredibly rewarding. UL: What are your plans for the future for MORJAS?HB: To continue refining what we’ve built. That means listening to our customers, evolving with purpose, and staying focused on long-term value. We’re not in a rush. The aim is to build something that lasts

An Interview with Celeste Lee Arendse: The Interworkings of Her Craft text Janne McIntosh Janae: What inspired you to start Selfi? Celeste: Growing up, my sister and I used to draw on every surface we could find. Both my parents were in the fashion industry, so industry talk was always an essential part of the conversation at dinner. Along with that, I was really interested in art and started drawing from a young age, as well as customising existing old clothes. I think it definitely started early, and many of those moments led me to become a designer today. J: What goals did you have in creating your first collection? C: I saw a niche of creative women in industry who were not wearing office wear to work but attire that can blend from day to dinner, or for lack of a better word, creating more transient clothes. I was interested in the modern career women who have a love for travel, great food, and who appreciate art and design in Cape Town at the time. J: When it comes to fabrics, what are the ones that you really enjoy using? And why? C: With each collection, we strive to incorporate fabrics that are kinder to the environment. The fabrics we like to use are cotton twill, ramie linen, rayon linen, hemp, and sometimes silk. We examine the amount of water used in the production of our fabrics, considering whether it contributes to microfibre pollution or greenhouse gas emissions, and how long it will take to decompose after purchase. All these factors have led us to select the most eco-friendly plant-based fibers carefully. J: What role does sustainability play in your brand?C: The fashion industry produces a lot of waste season after season. Disposing of mock trials, samples, and fabrics that are no longer needed by design houses. With the dumping of these waste textiles, toxic chemicals are released into the environment and break down into the soil when they are buried. Every season, we donate all our mock trials and samples to St Anne’s home for abused women and children in Woodstock, Cape Town, and Emmanuel Children’s Day Care Centre in Atlantis. Here, the textiles we donate get repurposed and used for skill development through craft and sewing. J: How do you approach functionality and creativity with your collections? C: It’s important to me to create clothes that are authentic but not intimidating or uncomfortable to wear. Clothes that are both durable and body-shaping are essential. We often redesign silhouettes season after season that fit well, and we will make slight changes in collar or pocket details J: Could you tell me more about how you incorporate African culture and identity into your work? C: Self-identity and culture are all about identity. In previous collections, we have drawn inspiration from indigenous tribes, such as the San people of South Africa, and explored the herbs and rituals they used for healing purposes. Weed colours and textures from these elements have been incorporated into our collections and lookbooks. We have also incorporated rock art female body silhouettes into knitwear pieces we have designed to celebrate the San people’s body and the curvaceous nature of the South African female form. We have also had a dress called the Ostrich Egg dress, which was quilted to resemble an ostrich egg used by the San People for drinking. J: What kind of woman or person do you have in mind when you design pieces for Selfi?  C: We design with the modern global woman who loves to travel, great food, and who appreciates art and design. She is self-aware, conscious, and is rooted in exploring herself, always striving to be the best version of herself. J: Can you shed some light on your connection between your brand and the charities you work with? C: Every season, we donate all our mock trials and samples to St Anne’s home for abused women and children in Woodstock, Cape Town, and Emmanuel Children’s Day Care Centre in Atlantis. Here, the textiles we donate get repurposed and used for skill development through craft and sewing. J: What makes Selfi stand out in the South African fashion landscape? C: It’s always been important to me to create a band with a purpose rooted in self-empowerment. Clothes with a mission that can raise the vibration of my environment, may it be through the people who make the clothes, to the women who wear them, or how it affects the earth. It’s all one chain; everything is connected. With this mindset, that is what makes us different. J: What is next for Selfi? C: I wish to do more collaborations with like-minded brands. Creating authentic experiences around fashion based on connection and high vibration experiences locally and internationally.

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.