Fashion Articles

Entangled Rebirth: Elin Olsson on Embracing Imperfection and Redefining Fashion text Matilde Aarskog Wold Elin Olsson, a young designer from Beckmans College of Design, introduces her latest collection, Trasslig Återfödelse (Entangled Rebirth), where fragility meets resilience. Her designs, a blend of delicate threads and voluminous silhouettes, challenge conventional fashion norms by embracing imperfections as a source of strength. In this interview, we dive into her creative process, inspirations, and the artistry behind the collection we’ve styled and captured for this feature. Olsson’s work invites us to see fashion as both a craft and a reflection of life’s beautiful complexities. Matilde Aarskog Wold: “When and how did your interest in fashion and design first emerge?” EO: I actually called my mother and asked. She said that as early as the age of two, I showed an interest in clothes and accessories by always being drawn to “bling bling” and trying on high heels that were way too big for me. My interest in sewing probably started around the age of 14 if I remember correctly. I bought second-hand clothes, cut them up, and then re-sewed them using my grandmother’s old Singer machine from the 1950s-60s. It wasn’t until high school that I truly realized fashion and design were what I wanted to pursue. I even asked my incredibly fashion-uninterested mother, “What is the profession called when you work in the fashion world?” After that, we traveled to Stockholm to attend open houses at various design schools, and that’s when I decided that one day, I would study at Beckmans. But it took me ten years before I actually started studying there. Like many others at the time, I wanted to explore the world first, and I also spent three years in preparatory studies before starting. MAW: Your latest collection, “Trasslig Återfödelse,” has such an evocative title. Can you tell us about the inspiration behind the collection and walk us through your process of developing it? EO: It actually started with thoughts about my mother—how she always saves the smallest things that others might throw away. She’s the type who keeps used wrapping paper and a pretty ribbon, for example. My mother sees value in small things, and as I’ve grown older, I’ve also come to appreciate that. I think I’ve inherited a certain tendency to collect—or as I prefer to call it, save! The phrase “it might come in handy” is something I’ve heard thousands of times growing up, and I’ve also adopted that mindset, in a well-organized chaos. In short, the inspiration for this collection came from my parents’ lifestyle. The process started with material experimentation, which was the focus of the entire course. I knew early on that I wanted to work with upcycling to breathe new life into everything I had collected over the years. I was particularly interested in denim and knitwear. I conducted numerous denim experiments and ultimately found the concept of “layer upon layer upon layer” intriguing. Regarding the knitwear pieces, I wanted to symbolize how human life has its ups and downs, just like the materials I’ve saved over the years. This time, those materials had their moment to shine. I wanted the finish to look “worn-in,” which is why the garments have subtly patinated color variations, as well as frayed denim pants and the upcycled lace top. MAW: The visuals from this collection feel deeply personal. How much of your own experiences and emotions influence your work? EO: “Trasslig Återfödelse” is deeply personal. In the material course, there was no strict framework for the concept, which allowed me to make it very personal. clothes Elin Olsson/Beckmans College of Designshoes Lundhags Later, there are courses with more structured briefs, or courses like “Collab,” where we collaborate with a company and need to step back from our own egos. It’s a very valuable and fun experience! But for my graduation project, I will make it personal again, to showcase who I am as a designer. MAW: You blend delicate, intricate elements with bold, voluminous shapes in your work. How do you approach balancing these contrasts, and what do they represent to you? clothes Elin Olsson/Beckmans College of Designshoes Kero EO: I think, like many others, I’ve trained my eye to see the bigger picture. I believe this happens unconsciously if you’re truly interested in design. The voluminous silhouettes come from my fascination with form. I find it intriguing when textiles extend beyond the body and take on a life of their own. My interest in textures comes from my desire to engage another sense in clothing—there’s so much that can be expressed through texture. MAW: Sustainability is such a big conversation in fashion right now. How does “Trasslig Återfödelse” tie into ideas of circular design or eco-consciousness? EO: The entire collection is about circular design and making use of what already exists. My chaotic but fairly well-organized collecting has resulted in this collection. Everything in the collection, except for the knitwear, consists of recycled materials. MAW: The fashion industry is rapidly evolving with new technologies and values. How do you see young designers like yourself reshaping the future of fashion? EO: I see it as an incredible opportunity but also a responsibility. I believe in us new designers, in our commitment to sustainability—both environmental and social. The industry has already been breaking traditional norms for a while, creating more inclusive expressions, and above all, advocating for sustainability. I strongly believe that we, as new designers, must continue working towards this. 3D design, AI, and digital platforms allow us to reduce waste and reach a global audience, even as small-scale designers. At the same time, I think it’s important not to focus on innovation for the sake of innovation but to uphold the values we want to see in the industry: respect for people, animals, and the environment. I believe the future requires a deeper impact than just following trends. I truly hope and believe that new designers are in a unique position to drive this change forward by

Charles & Keith: The Must Have Brand on Every Gen Z Student’s Radar text Maya Avram photography Darrel Hunterimages courtesy of Charles & Keith London Fashion Week is right around the corner, with events and presentations kicking off the Autumn/Winter season at the capital later this week. And while the Swinging City may not have the big-money splendour of New York or the century-old aesthetic of Paris and Milan, London’s vibrant energy is unmatched compared to the rest of the big four. Its brimming experimental nature is a creative haven for emerging talent like Nensi Dojaka, Simone Rocha, JW Anderson and Erdem, all of whom have grown to become global phenomena in recent years. The same fervour is extended to storied English houses too, like Burberry and Vivienne Westwood, rendering London’s fashion industry a pioneer of subversion and boundary-breaking design. This is why Central Saint Martins — the famed London fashion school whose impressive list of alumni includes the late Alexander McQueen, Phoebe Philo and Christopher Kane, among others — has a permanent slot on the Fashion Week schedule, as it’s generally agreed that its graduates are primed for greatness. This is why leather expert Charles & Keith has teamed up with a select group of CSM styling students for its latest campaign. Shot by celebrated photographer Darrel Hunter, the shoot benefits from his affluent lens as well as the students’ fresh attitudes, resulting in unrestrained creative expression that is so quintessentially Charles & Keith. Proving, once again, that no one does it like Londoners. photography Darrel Hunterimages courtesy of Charles & Keith

An Interview with Katja Inga text Agnes Strand Five years ago, designer and stylist Katja Hägelmark Johansson started her business, focusing on custom-made clothing. Since then, she has dressed many celebrities, brides and bridesmaids . In the fall of 2024, she pursued one of her other dreams and launched her ready-to-wear brand, KATJA INGA – clothing that is made in Stockholm, from first sketch to last seam. Agnes Strand: Who are you?Katja Inga: I’m Katja Hägelmark Johansson, designer and also founder of the Swedish brand KATJA INGA. I make a lot of custom-made pieces, for artists for example, but also wedding dresses and I do some styling under the name Katja Johansson Design. I also run my own brand since fall 2024, KATJA INGA. It’s a ready-to-wear brand where everything is sewn and designed in Stockholm. AS: Describe your designKI: I usually describe my design at KATJA INGA as Scandinavian and timeless, but with a twist. I work a lot with draping, for example, and I like to create pieces that can be worn in several different ways, so that they can have a long life in your wardrobe. I love simplicity, less is more, especially when it comes to color, but it shouldn’t be too basic. I work 90% of the time in black and white/cream white. AS: How did you get to where you are today?KI: I sewed a lot when I was a teenager. But then a lot of other things happened in life, I lived abroad for a while, then I started studying journalism in Kalmar, and that’s when I finally picked up my interest again and started sewing, day and night really. Thats almost 10 years ago now. I’ve taken a few classes at Tillskärarakademin in Gothenburg, in pattern making, materials science, etc., but at the core, I am self-taught. I started my own company in 2020 and it gave me a reel boost in my carrier when I was working with Idol in 2021. I saw that Sebastian Hammarberg (Stylebyseb) was going to style the Idols and was ooking for an assistant who could sew, so I applied—and that’s how it started. I got the job, and since then, I’ve been working with this. A lot of custommade work, which I love; it’s so fun and creative. But having my own KATJA INGA has been something I’ve been longing for for such a long time. AS: Biggest challenges of running your own business?KI: Getting the word out! Right now, all of my designs and garments are made in Stockholm, which I’m incredibly proud of, and I want people to know that, but it’s so easy to get lost in the noise. It would be so wonderful if people actually realized that you can buy clothes that are made in Stockholm. AS: Where do you see yourself in the future?KI: My dream is to be able to work 100% with KATJA INGA. Right now, I do everything myself, design, sketches, social media, sewing, the business part etc. My goal is for KATJA INGA to grow, and to have employees, so that I can do what I love the most, the design part. I wish to have a showroom or a small store, with large windows facing the street. That’s what I’m hoping for. photography Agnes Strandfashion & all clothing Katja Ingamodels Sanna Sellbrand & Lili Gustafsson & Jamie Sallmén

Utopia: A Celebration of Azzedine Alaia – Interview with Dragana Kusoffsky Maksimovic text NATALIA MUNTEAN From October 10, 2024, to February 16, 2025, Sven-Harrys Konstmuseum in Stockholm is hosting Master of Couture – Azzedine Alaïa, an exhibition showcasing the iconic creations of one of fashion’s most legendary figures. Known for his uncompromising approach and ability to blend fashion with sculpture, Azzedine Alaïa carved out a unique space in the world of haute couture, creating designs that transcend trends and timelines. From his early days as a young Tunisian sculptor to his rise as a celebrated couturier in Paris, Alaïa’s journey was marked by an extraordinary dedication to his craft, producing collections that continue to inspire designers and fashion lovers alike. This exhibition serves as both a tribute to Alaïa’s enduring legacy and an exploration of the art of couture, where fabric meets form in perfect harmony. We had the pleasure of speaking with Dragana Kusoffsky Maksimović, CEO of Sven-Harrys Konstmuseum, about the significance of this exhibition and how it reflects the visionary talent of a designer who revolutionised the fashion industry with his bold, sculptural silhouettes and timeless designs. photography Patrick Demarchelier Trunk Archive / Sven-Harrys Konstmuseum Natalia Muntean: How did the idea to bring Azzedine Alaïa’s work to the Nordics for the first time come about, and what inspired this collaboration with the Azzedine Alaïa Foundation? Dragana Kusoffsky Maksimović: The idea to exhibit Azzedine Alaïa’s work to the Nordics for the first time originated from a desire to showcase his iconic influence and craftsmanship to new audiences. I have long admired Azzedine Alaïa’s work and design, and, along with others, consider him one of the most influential fashion designers of all time. The craftsmanship, the strong silhouettes, and the way women wearing his clothes are empowered, not objectified, has always inspired me. The collaboration with the Foundation Azzedine Alaïa was inspired by a shared vision to highlight the artistry and timeless nature of his couture creations, as well as to celebrate his lasting legacy in the fashion world. I am so excited to open the doors and welcome our visitors to this truly extraordinary exhibition. NM: Can you tell us about the process of selecting the haute couture garments for the exhibition? What criteria were used to handpick these pieces? DKM: Sven-Harrys Konstmuseum has worked closely with the curator and fashion historian Olivier Saillard from the Foundation Azzedine Alaïa, which preserves Alaïas archives and legacy. We are showcasing forty iconic pieces spanning his four-decade career as a designer, from one of his earliest designs in the 80s to pieces from his very last runway show in 2017, just a few months before he suddenly passed away. In the exhibition “Master of Couture – Azzedine Alaïa,” visitors will step into the world of haute couture and get to know the fashion genius Azzedine Alaïa through his tailoring artistry. In subtly crafted creations, Alaïa highlights the duality of clothing as both couture and sculpture. In bringing this exhibition to the Nordics, we aimed to share Alaïa’s body of work and his iconic sculptural design. NM: Azzedine Alaïa was known for his unique combination of fashion and sculpture. How does the exhibition design at Sven-Harrys Konstmuseum enhance the sculptural quality of his creations? DKM: The exhibition design will be intentionally minimalist, allowing the couture pieces to take centre stage. Each elegant couture form is showcased on specially crafted mannequins by Alaïa himself. The shape and measurements of the mannequins were inspired by the figures of his favourite models, including Naomi Campbell, who was a very close friend and muse. Visitors will have the opportunity to explore the subtle and distinctive details up close in his iconic designs and experience the sculptural tailoring that made Alaïa a pioneer in the fashion world.  NM: What challenges did the museum face in curating this exhibition, especially considering the delicate nature of haute couture garments? DKM: The whole process and collaboration with the team at Foundation Azzedine Alaïa and us has been inspirational and very creative. They have been very supportive of our ideas. Also, the trust and respect we have in our curator Olivier Saillard’s experience and knowledge have been crucial for this exhibition and selection of garments. The dresses have been prepared by highly skilled conservators at the Foundation Azzedine Alaïa and are carefully dressed on specially made mannequins. photography John Scarisbrick / Sven-Harrys Konstmuseum NM: Alaïa’s designs have been worn by iconic figures like Naomi Campbell, Grace Jones, and Michelle Obama. How does this exhibition reflect the influence his creations had on both the fashion industry and pop culture? DKM: This exhibition reflects that influence by showcasing the transformative power of his couture, which blends impeccable craftsmanship with bold, sculptural silhouettes. Alaïa’s ability to empower women through his designs has played a significant role in shaping modern fashion. As a curiosity, he also designed for the legendary Greta Garbo. Azzedine Alaïa’s work transcended the traditional boundaries of fashion, blending art, sculpture, and couture to create designs that celebrated beauty and individuality. His unique creations and sculptural silhouettes celebrating the female body made him world-famous. Alaïa’s creations not only set new standards in haute couture, but also became synonymous with cultural moments, worn by women who shaped the worlds of culture, entertainment, politics, and fashion. His legacy, seen through this exhibit, illustrates how his work continues to inspire designers, celebrities, and fashion lovers worldwide photography John Scarisbrick / Sven-Harrys Konstmuseum   NM: Alaïa famously had no formal fashion education, yet he became one of the most celebrated couturiers. How does this exhibition celebrate his unconventional path to success? DKM: Azzedine Alaïa was an autodidact, mastering the art of design without formal fashion education. His unique approach to fashion design was deeply influenced by his background in sculpture. Born in Tunisia in 1934, he studied at the École des Beaux-Arts in Tunis, where he honed his sculptural skills. This artistic background profoundly shaped his approach as a couturier. Unlike many designers who begin with sketches, Alaïa worked directly

Clogs, Craft, and Timeless Cool – Emy Blixt on the Rise of Swedish Hasbeens text Ulrika Lindqvist Nineteen years ago, Emy Blixt swapped her career as a primary school teacher for the world of fashion, founding Swedish Hasbeens—now a globally recognized brand known for its handcrafted clogs and commitment to sustainability. In this exclusive interview, Blixt shares the story behind her unexpected journey, the inspiration behind the SS25 collection, and the joy of seeing icons like Sarah Jessica Parker embrace her designs. Ulrika Lindqvist:  Can you share how long you’ve been working in fashion and what initially inspired you to pursue a career in this field, what motivated you to found SWedish Hasbeens 19 years ago ? Emy Blixt: Although I worked as a primary school teacher before establishing Swedish Hasbeens, I’ve always had a big passion for vintage, handicraft and natural materials. This fascination made me take the opportunity to buy the leftover stock of vintage 70’s clogs back in 2006. I could see that the clogs were right on time with a growing awareness and demand for organic and sustainable products. You know when you are searching for something, and you don’t reallyknow what then suddenly you just find it, and then you know that this is it. I was 35 years old and I just stopped being a teacher and started making clogs, with no experience in the area, of business, design, or production. UL:  Over the years, have there been any standout projects or events that you find especially memorable? EB: It turned out that the clog had a big fashion potential. We were doubling our production five years in a row. Quite soon, we were contacted by H&M asking us to collaborate and feature our products in their flagship stores worldwide. This collaboration was a great honor given H&M:s history of successful design partnerships. It was an opportunity to spread our clogs all around the world. UL: We’d love to hear more about your SS25 collection—what inspired it, and what sets it apart? EB: Our SS25 collection draws inspiration from the braveness of the 60s, combined with playful elements, which makes it a perfect fashion now/vintage balance. The iconic bow and lasting loafers in combination with our luxurious Italian vachetta leather gives the collection a timeless expression. UL:  Your creations have been frequently worn by celebrities—was there a particular moment or individual that made you especially excited? EB:In 2009, as newcomers, a customer sent us a picture of Sarah Jessica Parker wearing the shoes. This was of course a great acknowledgement, saying that our shoes were something extra special. It has been great to see that she does not only wear our shoes in her movies, but also privately. UL: Beyond Swedish Hasbeens, what’s the most treasured garment in your wardrobe and why? EB: I believe that you are something and that is your personality, meaning different characteristics, for example crossover, open, relaxed or so on. Then you like something and that is your interests, for example vintage stuff, handicraft, art or whatever. Combing those two things, you find a sweetspot. So, my most treasured garment is a combination of who I am and what I like. For sure, I’m always investing in a pair of denim pants. They can be cheap or expensive, they just need to be spectacular meaning they need to meet me in my personality and interests. Once I find my sweetspot denim jeans, I tend to wear them for many years. Since I like vintage, I usually add a cool vintage belt or something. Mixing equal parts new fashion, old vintage fashion, color and handicraft. It’s all about the perfect mix and balance. UL:  Can you walk us through a typical workday in your life? EB: I try to work a little as possible but with the best possible impact on the result. I also try tofocus on the things I love to do, mostly creative stuff like designing and develop innovationswith the shoe factory. Additionally, I look at a lot of old statistics and analyze to decide forfuture strategies regarding marketing and sales. We are a very small and tight organization,so we need to work close and crossover together. It stretches from ideas of shoes, running aninternational webshop, marketing ideas, creating content, communication textually, meeting our customers in different ways and sending shoes all over the world. UL:  Looking to the future, what’s next for you? Are there any specific projects, goals, or aspirations you’re particularly excited about? EB: As soon as I’m finished with one collection, which I kind of never is, since I always want toadd new pieces and styles, I get ideas about the next one. I’m always longing for the nextprototypes and next styles. I push the boundaries of what’s possible to make on a clog, whilebeing mindful to the natural materials and the Hasbeen’s DNA. It is a fun challenge. For ourlatest photoshoot, I bought an old vintage Italian leather belt with brassy metallic studs andrivets. Now I’m fixated with implementing this on the next collection, so stay tuned.

Refined Elegance: Edwin Nenzell on Rose & Born’s Legacy and Vision for the Future text Ulrika Lindqvist Founded in 1989 in Stockholm, Rose & Born has been a cornerstone of modern menswear, blending Scandinavian aesthetics with classic tailoring traditions. In this exclusive interview, Edwin Nenzell, Partner and Buying Director, shares insights into the brand’s origins, creative processes, and its mission to offer timeless sophistication with a personal touch. From the challenges of navigating the fast-paced fashion industry to opening an international store in Zürich, Edwin reflects on the journey and future aspirations of this iconic brand. Ulrika Lindqvist: Can you share how Rose & Born was founded and the inspiration behind its creation? Edwin Nenzell: Rose & Born was founded in 1989 in Stockholm with a vision to offer contemporary menswear rooted in classic tailoring traditions. The inspiration came from a desire to provide proper personal experiences as we redefine modern elegance. Today that means combining Scandinavian aesthetics and values with the craftsmanship of traditional menswear. We want to create a space where our customers find clothing that blends sophistication, quality, and a sense of individuality. Over the years, this mission has evolved, but the essence remains the same: being available to help our customers look and feel confident in every setting. UL: What is your background, and how did it influence your decision to collaborate with Rose & Born? EN: My background is deeply rooted in menswear. Having worked in the business for many years, I early developed a passion for fine tailoring and an appreciation for the nuances of men’s style. Joining Rose & Born felt like a natural step — it was an opportunity to combine my understanding of menswear with a platform that values craftsmanship, personal service and understated elegance. After a few years at Rose & Born , I became a partner of the company and today I oversee the buying and made-to-measure services. UL: How would you describe the dynamic of working with your team at Rose & Born? ED: The dynamic is one of collaboration, a mutual vision, and a shared passion for what we do. We are a small, dedicated team that thrives on creativity, attention to detail, and a commitment to our customers. Everyone has different backgrounds and brings unique perspectives, and our open dialogue helps us continually refine and evolve the brand. The trust and clear understanding of what we’re trying to achieve is essential to maintaining the brand’s integrity and vision. photography Daniela Spiroskafashion Ulrika Lindqvisthair & makeup Wanda Perssonmodel Zebastian/Mikas UL: What are the three core values that define Rose & Born as a brand? EN: Personal Service: Building genuine relationships with our customers and offering tailored experiences that make them feel seen and valued. Craftsmanship: A relentless focus on quality and the artistry behind every garment. Timelessness: Designing pieces that transcend trends and remain relevant for years to come. UL: Can you take us through the creative process behind your latest collection? EN: Our creative process always begins with a consideration of the past and what’s essential for both style and comfort today. We explore themes that align with our brand DNA — contemporary elegance and functionality. For the Fall Winter 2024 collection, we drew inspiration from the nature and landscapes of Sweden and Switzerland. Many times they are as understated as our collections. One can see clear connections both in the colour palette of the garments but also the focus on functionality with garments focusing on being wearable in these climates. I would say all our collections are crafted to seamlessly transition between different occasions. We have a great permanent assortment as well which is meticulously tested and improved, ensuring each garment lives up to our standards before it reaches our customers. UL: How would you describe the ideal Rose & Born customer? EN: In a year we meet all sorts of customers, and they are all very different individuals. For us that is the most important start, understanding the customers’ needs and wants. But trying to define the ideal Rose & Born customer, I would say it’s someone who values quality, and personal style and has a long-term relationship with their wardrobe. UL: What have been the biggest challenges you’ve encountered while building Rose & Born? EN: I would say the pace of the fashion industry. Maintaining a commitment to our core values has always been important to us while adapting to new customer needs — such as incorporating e-commerce, expanding internationally, and navigating quick changes in shopping behaviour — has required constant learning and adaptation. However, these challenges have also been opportunities to grow and refine our identity. UL: Can you share a memorable moment from your years at Rose & Born? EN: What comes to mind first is opening our second physical store, which we did in Zürich last December. Seeing our vision resonate with a new international audience and succeed in the way we imagined is incredibly rewarding. It truly reflects the years of dedication to developing this company into what it is today.  It also reinforced our belief that there is a global appetite for what we envision Rose & Born being – uncompromising quality and effortless quality with the personal experience at centre stage. UL: What are your future goals and aspirations for Rose & Born? EN: Our goal is to continue growing our global presence while staying true to our core values. We aim to enhance our digital experience and grow our physical presence. Making the online business as seamless and refined as our in-store services is key to achieving this. Ultimately, we want to deepen our relationship with our customers worldwide, offering them garments and experiences that embody the values of Rose & Born.

Meet the Designer: Interview with Henrik Vibskov text Frank-Adam Hagman photography Sofia Malmiaall clothes Henrik Vibskov Henrik Vibskov is the Danish designer, artist, and musician known for turning fashion shows into immersive, theatrical experiences. As a Central Saint Martins graduate, he moves fluidly between clothing, sculpture, and performance, balancing bold, chaotic concepts with a distinctly Scandinavian structure. From mint-scented installations to nature reclaiming human spaces, his inspirations are unexpected, his approach instinctive. Odalisque caught up with Vibskov to talk storytelling, creativity, and why fashion should always have a sense of humor. Frank-Adam: Your runway shows are known for their immersive, almost theatrical experiences. What is the starting point for creating these worlds, and how do you balance the conceptual with the wearable?Henrik Vibskov: The starting point for creating this world can vary greatly. I think it’s a continuous search for something interesting or thought-provoking. Sometimes, we just need to explore different directions—often, it branches into three different paths, and perhaps one or two of them connect. Usually, we begin and see where it leads. You could say that coming from Central Saint Martins, storytelling, concept development, and creative exploration have been a much more significant part of my education than business planning. It can take many forms, offering reflections on how we live, what we do, what we eat, and the reasons behind it all—essentially, reflections on life in general. I think my approach has changed a bit—not so much focusing on different cultures anymore, but more on what happens in the studio, the mistakes, and all the little things that, hopefully, come together to create a story. Sometimes, something unexpected appears, and I think, “Hey, that’s super interesting!” Of course, balancing concept and wearability is always a challenge. At the end of the day, it’s also a business—employees need salaries, and at some point, you have to find a balance. F-A: Danish design is often associated with minimalism, yet your aesthetic is bold, playful, and maximalist. How do you see your work in relation to traditional Scandinavian design principles?HV: When I studied at Central Saint Martins, I loved colors, chaos, and a lot of movement. But coming from Scandinavia, I couldn’t fully relate to its aesthetic. Over time, though, I realized I needed structure—a tight frame to contain the chaos. So when I present something very colorful or chaotic, it’s always framed in a clean, structured way—like a white carpet, a minimalist backdrop, or a carefully curated space. There’s a certain conservatism in how I frame chaos and color. For example, I was once invited to South Africa to represent Denmark and speak about Danish aesthetics and design. I remember thinking, What the fuck? because I arrived with a blown-up, mint-green project—super colorful and completely different from what I expected to represent. I couldn’t really relate to it. But looking back, I realize that my background—growing up in the ‘70s and ‘80s, surrounded by Scandinavian design, school chairs, architecture, and art—has shaped me more than I consciously knew. That influence, however subtle, has framed my perspective in a distinctly Scandinavian way. Intuitively, I think that reflects a lot in my work. F-A: You’ve worked across multiple mediums, from fashion to sculpture to performance art. How do you decide which medium best serves an idea?HV: Deciding on the best medium to serve an idea? I don’t know—I’m constantly critical of myself, always questioning whether something could be done differently or if it feels complete. But I think time and deadlines often shape the project, and towards the end, a lot of unexpected things happen. Actually, deadlines are really valuable in this process because otherwise, the work could go on indefinitely. There’s always that thought of, “Oh, I could have done this differently,” but at some point, it’s too late, and you have to move forward. I try to take a step back and assess everything we’ve done—asking myself, What should the audio be for this? How should the sound enhance the experience? What kind of lighting would work best? Should there be movement, or should it remain still? It’s a continuous process of imagining what would work and how it will all come together. Sometimes it turns out better than expected—other times, not so much. But that’s part of the process. F-A: Your collections frequently reference unexpected themes. What’s the most unusual source of inspiration you’ve ever had, and how did it translate into your work?HV: I incorporated everything I could think of related to mint—it was the central theme, the spice, or is it a vegetable? Either way, mint was the essence of it all. I even created a mint-inspired step dance with music and drums because, after all, I’m a dancer. The entire room was filled with the scent of mint. Visually, there was an presence of it—a massive, blown-up mint installation that resembled a giant crocodile mouth or something like that. The music had a minty, drum-and-bass dance vibe. For taste, I created a mint vodka milk cocktail for everyone. We also dripped mint oil all over the space. Every sense—sight, sound, taste, smell—was completely immersed in mint. It was minty, minty, minty, minty. I’m sure I’ve done something else as well. F-A: Social media has changed the way artists and designers share their work. Do you think it’s helped or hurt creativity, and how should young creatives navigate it?HV: I don’t know if it helped or—I think for me, it’s been more difficult somehow to kind of deal with that. But maybe I’m also a little bit old school. I’m still dealing with, you could say, social media and building it up in, you could say, an old-school way. Maybe not posting constantly, but rather posting something that’s good. And you could say the speed of that is different from young people who are just posting everything. Okay, now I’m shopping for something. I’m buying a new something. I’m doing this, I’m doing that. For sure, I have a much slower pace. F-A: What common connection do you see between your A/W 25 show and Hess Is More’s

IN CONVERSATION WITH VALERJ POBEGA TEXT JOSIE MCNEILPHOTOGRAPHY WENDY BEVAN VALERJ POBEGA HAS NEVER BEEN A TYPICALDESIGNER; SHE’S ALWAYS VIEWED HERSELF ASMORE OF AN ARTIST. “MY COLLECTIONS ARE ENTIRELY DESIGNED, CUT,SEWN, AND THEIR FABRICS HAND -PAINTED BY ME IN NUMBERED LIMITED EDITIONS, CROSSING THATFINE LINE OF WHAT IS USUALLY CONSIDERED ARTOR FASHION,” SAYS POBEGA DESIGNER VALERJ POBEGA IS FIRST AND FOREMOST AN ARTIST AND STORYTELLER The Italian avant-garde designer’s works are edgy, in-your-face, and at times futuristic. Her designs are not meant to just be worn but show- cased. The Los Angeles County Museum of Art even obtained two of her hand-painted gowns for its permanent collection. Her pieces are often accompanied by innovative photo campaigns, videos and theatre performances. Pobega’s designs have been featured on the cover of coveted fashion magazines such as Vogue, and most recently, CR25: Love and Fantasies, the CR Fashion Book’s 25th issue released on October 28th. In this edition, Angelina Jolie wears a silk kimono handpainted with stars and a poem by Pobega Herself. Pobega’s unique approach to fashion can be traced back to her unusual roots in the industry. She grew up with two artist parents and first tasted the fashion industry through modelling. While pursuing this path, Pobega attended art school instead of fashion school for the level of freedom and self-expression it offered her. Pobega chose this background because she wanted to be able to create her own rules in fashion design. She is almost fully self-taught with the help of the occasional patternmaking class to learn the basics of garment construction. This lack of formal training allowed Pobega to truly forge her own path and cement her own style in the fashion world. Her unorthodox fashion background, and consequently out-of-the-box designs, have caught the attention of eccentric celebrities such as Madonna, Lady Gaga, Billy Corgan of The Smashing Pumpkins and most recently Angelina Jolie. Pobega called designing for these celebrities a “full circle magical” moment. “Posters of Madonna are still hanging in my teenage bedroom at my parents’ home in Italy,” says Pobega. DESIGNING FOR HER MUSES “Fast forward to decades later, and I’m working on two custom dresses for a music video for Madonna, followed by another custom dress that was requested to wear during one of her live awards ceremony performances. ”The dress Pobega is referencing is the one Madonna wears in her iHeart-Radio Music Awards performance of her single “Ghosttown.” The outfit consists of a black corset and garters, a white button-down shirt and bloomers-style black lace shorts styled with Pobega’s red silk dress. The design meshes Madonna’s Western burlesque aesthetic for her Rebel Heart album with Pobega’s punk style. Pobega’s dedication to her craft is highlighted with these intricate, special request designs for celebrities. The behind-the-scenes work involved in these projects is often chaotic and goes unseen, according to Pobega. One of these last-minute moments occurred with her design of Lady Gaga’s dress on American Horror Story–Pobega was finishing hand-painting the sleeves the day the show was scheduled to film. “At 2:00 in the morning, I was still drying a sleeve with a hairdryer because they were coming to pick it up at 6:00 in the morning,” she recalls. “That dress ended up becoming so iconic on the show, and Lady Gaga told Rolling Stone magazine that it was one of her two favourite dresses to wear on the show.” collaboration Wendy x Valerj talent Wendy x Valerjtext Josie McNeilphotography Wendy Bevan FINDING INSPIRATION IN ART “I put it together soon after he died,” Pobega said. “I scraped away what I was currently working on, as I felt it was the least I could do to honor someone who has been such a trailblazing force in my entire life and also for generations of so many people and other artists.” Pobega said she handpainted lyrics from “Heroes” on one gown in the collection and golden spiders from Mars on another garment in reference to the late singer’s album, and also his alter ego, Ziggy Stardust and the Spiders from Mars. The trait that Pobega most clearly draws from Bowie is his fearlessness. Bowie was a pioneer in fashion with his unapologetic, gender-fluid outfits, and Pobega channels the same energy in her innovative designs. Another characteristic that Pobega shares with Bowie is her emphasis on storytelling. Similar to how Bowie creates diferent alter egos for his albums, Pobega imagines concepts for her collections. She draws from specific art and cultural references for each collection and then reflects these themes in the design of each garment. “It has never been just about the clothes for me. I’ve always been a storyteller, so it always makes sense to create a whole world around each collection, and not just the clothes that are part of it,” Pobega said. Pobega says she has been working on her dream project for the past three years. She mentions that she has a couple of projects in the works now and is currently deciding which world to unveil first. “It will tie even more of the disciplines of my artist self, the writing and directing parts, while creating even more worlds through storytelling, all taken to the next level.” Pobega designs artistic pieces for her eponymous label that are paradoxi-cally timeless and avant-garde, all while drawing inspiration from music and poetry. She refers to these sources as “the two creative forces behind what has always inspired me as a person, artist and in my work.” One genre that is particularly inspiring to Pobega is rock. The first record she ever bought was Nevermind the Bollocks by the Sex Pistols. Pobega also cites Siouxsie and the Banshees, The Cure, and Bauhaus as formative to her process, but her number one muse has always been David Bowie. “Him and his music inspired me to go for it for myself, to take chances (not to mention that my hair has been coloured in diferent shades of red since I was 13 years old because of him),” says the designer.

SUGAR Y SAL BLENDS BOLDNESS, HISTORY,AND POLITICS INTO GENDER-FLUIDDESIGNS THAT CHALLENGE THE TRADITIONALBOUNDARIES OF MENSWEARAND WOMENSWEAR. THE BRAND, BORNOUT OF PERSONAL EXPERIENCE ANDOBSERVATION, PROMOTES INCLUSIVITYAND SELF-EXPRESSION THROUGH FASHION.FROM ITS UNOFFICIAL START IN 2019AMIDST THE CHALLENGES OF COVID-19,TO ITS BREAKTHROUGH COLLECTION IN2023, SUGAR Y SAL HAS STEADILY GROWNINTO A SYMBOL OF BRAVE, SUSTAINABLE,AND GLOBALLY INSPIRED FASHION. BYRINA YU, FOUNDER OF SUGAR Y SAL, TALKS ABOUT HER MOTIVATION TO CREATE THE BRAND, HOW POLITICS AND FASHION ARE RELATED AND HER HOPES TO BRING MORE ACCEPTANCE INTO THE WORLD. “I WANT PEOPLE TO WEAR IT REGARDLESS OF AGE OR GENDER, AS LONG AS THEY HAVE AN OPEN HEART AND ACCEPTANCE OF THOSE AROUND THEM.” Natalia Muntean: Could you tell me a bit about your brand? How did it start? And what does the name represent?Byrina Yu: It’s Sugar y Sal, a mix of English and Spanish. The Spanish part is because my husband is from Spain, and he has been my muse for every collection since I was in university. I thought, why not use that as part of the name? The brand was founded in 2019, but we didn’t officially release any collections at first because of COVID and all the bureaucracy went through, moving between Spain and China. The first collection actually came out around 2023-2024. The reason I started the brand is because a lot of my friends are gender-fluid, and I’ve listened to their stories. I’m not one of them, but I’ve seen the social pressure they deal with, especially from their families and in places like China and other countries. I feel like fashion and beauty are ways people can express themselves without pressure. If you try to debate concepts like gender fluidity, people can get defensive or angry. But when you talk about it through something beautiful, like art or fashion, it’s easier for people to see it and accept it, and maybe understand a bit more about how others think. For me, fashion is a way to communicate across different societies, and that’s the motivation behind the brand. Every collection touches on menswear, history, and even politics, especially with how tense things are in the world right now. So many issues come from people not accept- ing each other. So Sugar y Sal is really about communi- cation between different groups of people. NM: Could you tell me a bit about your background?BY: I started university in Kingston, London, where I did my bachelor’s in fashion design. In my second year, I shifted to menswear because I’ve always been drawn to its history, the manufacturers, and all the details. After that, I continued studying menswear at Westminster Uni- versity for my master’s. Then I studied visual merchandis- ing because, by 2018, I wanted my own brand. I felt that studying visual merchandising could help me create a physical shop—not just to make money, but to commu- nicate with customers through the space itself. It’s about more than just shelves; it’s about the message you want to share with them. NM: Communicating through clothes – that’s beautiful! So was it a conscious decision to create 163 non-gendered clothing?BY: Yes! NM: Is having a physical space important to you?BY: Ideally, yes. Eventually, I hope to have one because I think online shopping distances you from people. In a physical shop, people can experience everything—you know, they can smell, touch, and hear what you want to express. You also get to hear their feedback, which is so important. We always want to communicate and understand people—that’s our goal. NM: You said that in your second year of studies you became more interested in menswear and shifted focus. Where did that interest come from, and why did that change happen?BY: I was studying fashion design, and mostly everyone was focused on womenswear. I spent two years in China, in Shanghai, and I felt likeeveryone was doing the same thing. So I started wondering why people weren’t doing menswear, and why menswear trends were so much smaller compared to womenswear. When I moved to Kingston, I spent a lot of time in the library and discovered that, historically, men wore high heels, corsets, lace, and vibrant colours—more fashionable than women at times. It was tied to the fact that men had more power and money than women back then. That got me thinking. People today might not understand the history of menswear or gender roles, and maybe that’s why there’s discrimination against gender-fluid people. I realised that in the future, people might look back at our current discrimination and think it was ridiculous, just like how we look back at past racial discrimination. So I hope people can see through my collection that terms like ‘menswear’ and ‘womenswear’ are just labels. There shouldn’t be borders. Learning about the history of menswear really opened my eyes, and that’s why I decided to focus on it. NM: What do you believe sets Sugar y Sal apart from other brands in the industry?BY: I don’t want to say we’re very special, because every brand is special in its own way, right? But for Sugar, every design is so connected to my personal experience and how I think about things, which makes each piece unique. That’s something I learned at university in London—your perspective needs to come through in your designs. I may not always have solutions to the problems I think about, but I always raise them in my work, and I believe that’s what sets us apart. Of course, other brands have their perspectives too, but that’s our difference. NM: Can you walk me through your creative process when working on a collection?BY: Sure. I’m always sensitive to politics, and I keep up with the news. For this collection, I was inspired by a YouTuber who made a video about a terrorist attack in Barcelona a few years back. The people involved in the attacks were just normal individuals who turned to violence because they didn’t feel accepted by society. Their differences—being

The Man Who Speaks the Language of Dress: A Story of Art, Fashion, and Sustainability by Pavlo Blinov, Sweden/Ukraine text Aleksandra Mikhailova and Ksenia Rundin photography Sandra Myhrberg At the Center for Retailing, Stockholm School of Economics, Ukrainian-Swedish artist and artisan Pavlo Blinov is introducing a new installation that fosters dialogue at the intersection of art, business, and sustainability. Through the Retail Art Program (RAP), an initiative by Professor Pierre Guillet de Monthoux to bridge the world of contemporary art with retailing, marketing, and consumer studies, a new conversation is emerging—one that connects aesthetic vision with business education, and through the new exhibition—sustainability. “The Man Who Speaks the Language of Dress” is an eclectic and symbolic exhibition co-curated with Odalisque Magazine and its Editor in Chief Sandra Myhrberg behind the camera lens. Pavlo Blinov’s installation is created using discarded everyday materials, which, when combined with his artistic vision, are brought back to life with new meaning, all while telling a deeply personal story. The installation therefore reflects not only on art and fashion but also on communication—revealing how fashion, sustainability practices, and craftsmanship can intersect to tell deeper stories, not only about human experiences but also brand identities. Pavlo Blinov, renowned for his work in costume design and scenography at the Royal Dramatic Theatre and the Royal Swedish Opera, brings his unique vision to this installation. “The Man Who Speaks the Language of Dress” draws inspiration from Ukrainian-born artist Ilya Kabakov and his concept of ‘total installation,’ where space and objects come together to create an immersive experience. Similarly, for Pavlo, dress becomes more than just a visual element: it is a space—a canvas—that reflects the world’s inconsistencies and imperfections as revealed through the artist’s sublime perspective. The Orante: Transforming a Childhood MemoryThe centerpiece of the installation, “The Orante,”; features a finely crafted costume that includes a dress, a cape, and a halo-shaped headdress, which suggests a sacred symbolism while conveying a deeper personal meaning. As a child, Pavlo was deeply moved by the Orante fresco in Kyiv’s Saint Sophia Cathedral, which depicts Saint Sophia in a pleading pose, surrounded by a gilded divine background. That memory has followed him into adulthood, and now, through this installation, Pavlo offers his own interpretation of the Orante. He reimagines the original androgynous figure, not merely as a religious symbol, but as a timeless expression of hope and veneration. Through his work, Pavlo redefines veneration as something internal—no longer an external symbol of control, but a force that protects and nurtures the human spirit. The dress becomes more than just an object; it becomes a vessel of this transformation. Upcycling in Retail: Harnessing the Power of Art and SustainabilityIn a world increasingly focused on sustainability, Pavlo Blinov’s work takes on new relevance, particularly through his practice of upcycling—the process of transforming discarded materials into something of higher value. In the art world, upcycling is more than just a trend; it’s a way to reimagine value and push the boundaries of what materials can become when viewed through a creative lens. Pavlo’s expertise in costume design and scenography is evident in how he manipulates these materials, transforming what could easily be seen as waste into art. His work on some of the biggest theatre stages in Sweden has given him a deep understanding of space and composition, a skill clearly reflected in his upcycled pieces. Each element is carefully considered, with every material chosen for its potential to be reborn into a new story. Presented in an environment reminiscent of shopping window displays, the installation speaks not only to art enthusiasts but also to those engaged in the world of retail. It challenges us to reconsider our perception of materials and encourages to explore the intersection of arts, retailing, and sustainability. Pavlo’s creative transformation of discarded materials mirrors a growing movement in the retail industry, where brands are increasingly embracing sustainability through upcycling in visual merchandising. Traditionally window displays, often created for short-term campaigns, contribute to waste when they are dismantled and discarded after use. However, some forward-thinking brands are changing this narrative by incorporating upcycling into their window display designs. Brands like Dior, Aesop, Selfridges, and Anthropologie often turn to production remnants, scraps, and repurposed materials to craft unique, sustainable displays that not only showcase creativity but also communicate their sustainabile values to consumers. In Sweden, Nordiska Kompaniet (NK) is known for its innovative use of upcycling and recycling practices in its iconic Christmas window displays, offering a local example of how sustainable values can not only coexist with, but also stimulate creativity and artistic vision. Through upcycling and his unique immersive approach to dress, Pavlo invites the public to engage not only with the materials and spaces but also with the deeper meanings behind them. In a world driven by consumption, this installation reminds us of the power of transformation— unlocking potential in what we already own and creating value from what others overlook. It is about the stories we tell and the future we envision. As Pavlo Blinov’s installation connects art, retailing, and sustainability, it mirrors the very conversation that the Retail Art Program aims to inspire: one where creativity, artistic vision, responsibility and business acumen come together to reimagine the spaces we inhabit, the resourses we use, and the stories we tell.